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 email@example.com, 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.
“What is the truth of the universe that fills your body and mind? Don’t tell me, show me.” — John Daido Loori, “The True Dharma Eye”
“Inside the fortress of our skins we human beings have remarkable defenses against enemy intrusions, but we are not impregnable.” — John Money, “Reinterpreting the Unspeakable”
By Chris Dohse
Copyright 2006, 2018 Chris Dohse
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.
NEW YORK — So Deborah Hay’s “O, O,” January 26: in this version a showcase for five downtown dance veterans (Jeanine Durning, Neil Greenberg, Miguel Gutierrez, Juliette Mapp, and Vicky Schick). These bodies are as comfortable inside Danspace Project at St. Mark’s Church as five old socks in an old shoe. As we enter, cell phones trill, powering down; we’re not particularly paying attention and the dancers enter consecutively, taking the space to perform subtle gestures. They are immediately, and as it turns out, irrevocably, embodiments of a sort of politesse, a sort of Stoicism. They impassively ignore us, even though their gaze includes us, as if they’re well-trained figure models.
To receive the complete article, first published on February 17, 2006, subscribers please contact publisher Paul Ben-Itzak at firstname.lastname@example.org. 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 email@example.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 firstname.lastname@example.org. Sign up by April 20 and receive a FREE Home page photo ad.