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What becomes a Judson legend?: Halprin Intensive at the Pompidou Museum

By Paul Ben-Itzak
Copyright 2004, 2018 Paul Ben-Itzak

(To receive the complete Flash Review Journal from which this article is excerpted, first published on October 21, 2004, subscribers please e-mail paulbenitzak@gmail.com. Not a subscriber? Subscribe to the DI for one year for just $36/year or $21 or Euros for students, as attested to by a copy of your student I.D., by designating your PayPal payment in that amount to paulbenitzak@gmail.com, or write us at that address to learn how to pay by check, and receive full access to all new articles plus our 20-year archive of 2000 reviews by 150 critics of performances and art exhibits on five continents.)

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Back to the Future: How to access stories on the Dance Insider & Arts Voyager

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Fearless: Celebrating Homer Avila

Homer Robin

Homer Avila by Robin Hoffman.

By Paul Ben-Itzak
Copyright 2004, 2018 Paul Ben-Itzak

Founded in 1998 by a collective of professional dance artists and journalists to build the dance audience, tell stories not told elsewhere, and give a voice to dancers, the DI is celebrating its 20th anniversary. For information on purchasing your own copy of our archive of 2,000 reviews of performances, news, and art from around the world by 150 leading dance critics, e-mail paulbenitzak@gmail.com . To celebrate its 20th anniversary, this week the DI is offering one-year subscriptions for just $20. See below for more information.

Homer Avila died Sunday night, at the age of 49, at Memorial Sloan-Kettering in New York, where he’d checked himself in Saturday. “He was dancing until Friday, checked himself into the hospital Saturday night, and was gone by twilight Sunday,” reports Pentacle’s Ivan Sygoda. “The cancer that cost him his hip and leg had metastasized and reached his lungs.”

The journalist trades in the effects of sympathy. By his reporting and then the selection and arranging of details, he can write an obituary to pull your heart out. I’ve been doing this for more than 25 years, since a high school English teacher I didn’t know that well passed away unexpectedly, and I set about interviewing his colleagues. Did I know what they told me was moving? Yes. Was I moved by their words? Yes, but it was probably a detached empathy. This one is hard.

Homer danced with Momix and with Bill T. Jones/Arnie Zane, where he would meet his partner Edisa Weeks. I first caught them in an evening of performance in a church basement on the Upper East Side, where their duet “Dubious Faith” was the highlight. Homer played a priest, with the taller Edisa lifting and twirling him; Homer walked on upended wine glasses. More miracles were to come.

To receive the complete article, first published on April 27, 2004 and featuring excerpts from DI reviews of Homer’s performances around the world and comments from Homer and colleagues, subscribers please contact publisher Paul Ben-Itzak at paulbenitzak@gmail.com. Not a subscriber? This week you can subscribe to the DI for one year at the discounted rate of $20, 33 percent off the regular rate.  Just designate your PayPal payment in that amount to paulbenitzak@gmail.com, or write us at that address to learn how to pay by check. Subscribers receive full access to the DI/AV Archive of 2,000 exclusive reviews by 150 leading critics of performances and art on five continents from 1998 through 2015.

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Stories not told Elsewhere: Bodies that Dance — Dance>Detour & Momenta Focus on Abilities

By Renee E. D’Aoust
Copyright 2006, 2018 Renee E. D’Aoust

Founded in 1998 by a collective of professional dance artists and journalists to build the dance audience, tell stories not told elsewhere, and give a voice to dancers, the DI is celebrating its 20th anniversary. See below for information on accessing our archive of 2,000 reviews of performances and art from around the world by 150 leading dance critics.

CHICAGO — In the opening video montage of Bodies that Dance, a program seen April 21 at the Duncan YMCA’s Chernin Center for the Performing Arts, Alana Wallace poignantly recalls how much she wanted to dance as a kid. A picture of a young child flashes on the screen, and Wallace says, “This is the girl who could walk.” That was before polio and before she required a wheelchair for mobility. As the picture fades, Wallace says, “I never thought the world of dance could include me — or anyone with a disability.” The video ends, the curtains part, and there is Wallace in her wheelchair, a huge smile on her face, wheeling onto the stage.

To receive the complete article, first published on April 28, 2006, subscribers please contact publisher Paul Ben-Itzak at paulbenitzak@gmail.com. Not a subscriber? Subscribe to the Dance Insider & Arts Voyager for just $29.95/year ($99 for institutions gets full access for all your teachers, students, dance company members, etc.) by designating your PayPal payment in that amount to paulbenitzak@gmail.com, or write us at that address to learn how to pay by check. Subscribers receive full access to the DI/AV Archive of 2,000 exclusive reviews by 150 leading critics of performances and art on five continents from 1998 through 2015. You can also purchase a complete copy of the Archives for just $49 (individuals) or $109 (institutions) Contact Paul at paulbenitzak@gmail.com. Sign up by April 30 and receive a FREE Home page photo ad.