Returning to its roots as a Direct E-mail List — as the most effective, efficient way to serve our subscribers, writers, advertisers, and readers — the DI will heretofore make all new content, as well as reprints from our 20-year archive of more than 2,000 exclusive reviews by 150 writers of performances on five continents, plus news, commentary, art, and the Jill Johnston Archive, available strictly by e-mail. To subscribe to the DI and access both this new content and archived stories, for just $29.95/year individuals or $49.95 institutions, just designate your PayPal payment in that amount to firstname.lastname@example.org, or write us at that address to find out about payment by check or in Euros. (In the latter case, the payments will be directed to our European correspondents.) You can also contact us at that address to find out about limited, well-integrated e-mail advertising options.
If there’s one person in dance who is consistent, it’s Battery Dance’s Jonathan Hollander, whose vision, contrary to the myopia which sometimes infects other leaders of the New York dance community, has always been both global and community-oriented in the larger sense. Receiving its premiere Sunday at 7 p.m. at the Museum of Modern Art as part of MoMA’s Doc Fortnight festival, Rob Fruchtman’s 2017 “Moving Stories” follows six dancers from Battery, including ex-Graham fixture Tadej Brdnik, as they travel to India, Romania, Korea, and Iraq to work with at-risk youth, with just one week to prepare a performance. The documentary is preceded by Maris Curran’s “While I Yet Live,” in which five acclaimed African-American quilters from Gee’s Bend, Alabama, discuss love, religion, and the fight for civil rights as they continue the tradition of quilting that brought them together, and followed by a discussion with some of the dancers, who also included Robin Cantrell, Mira Cook, Clement Mensah, Sean Scantlebury and Lydia Tetzlaff. Photo courtesy Rob Fruchtman.