A story about the growing practice of Indigenous land acknowledgment at New York City dance spaces, a movement catalyzed by Emily Johnson. (The New York Times, 8/1/18)
For Magazin im August, the magazine of Berlin's Tanz im August festival, I interviewed "action architect" Elizabeth Streb after a visit to her troupe's Williamsburg headquarters.
Three stars of the new FX show — Ryan Jamaal Swain, Dominique Jackson, and Jason A. Rodriguez — talked with me about their experiences as dancers. (The New York Times, 7/17/18)
A profile of the New York City Ballet principal, whose own company, the Ashley Bouder Project, provides a creative platform for women and other underrepresented voices in ballet. (The New York Times, 6/30/18)
My first review for Artforum, on Milka Djordjevich's ANTHEM (5/23/18).
A short profile of freelance dancer extraordinaire Maggie Cloud. (Dance Magazine, June 2018)
On works by Angie Pittman, Adham Hafez, Lucie Grégoire, and more at the 13th La Mama Moves! Dance Festival. (The New York Times, 5/30/18)
An interview with Clare Barron about her play Dance Nation. (The New York Times, 5/22/18)
Going through some old files I found this review I wrote of Jack Walsh's 2015 documentary on Yvonne Rainer. For some reason I now can't recall, the review was never published. I've been thinking a lot about YR lately (am I ever not thinking about YR?), especially about her excellence as a writer and chronicler of her own history. I also think a lot about how she left and came back (to dance). Anyway, I felt like I should release this from my "Old Desktop" folder and into the world, mostly for the stellar quotes from YR and Steve Paxton.
How has this not been done before? For the dance history enthusiast, that question arises just at the mention of Feelings Are Facts: The Life of Yvonne Rainer, a discerning and necessary new documentary about the revolutionary choreographer, performer, filmmaker and writer who helped to usher American dance from modern to postmodern in the 1960s — and who, at 81, is still performing and making work today.Read More
A review of Douglas Dunn's "Tandem," presented at the SoHo loft where he's worked and lived since 1982. (The New York Times, 4/24/18)
A review of the final (live) performance of No Boundaries: Dancing the Visions of Contemporary Black Choreographers. (The New York Times, 4/9/18)
On Jack Ferver's Everything Is Imaginable at New York Live Arts. (The New York Times, 4/5/18)
For Dance Magazine's April issue, a look at Katy Pyle's reinventions of the ballet canon and ballet class: "What if we were all in a ballet and it was actually about us?" (April 2018)
A preview of Reggie Wilson's "Dancing Platform, Playing Grounds: Blackness, Churches, and Downtown Dance" at Danspace Project. (The New York Times, 3/2/18)
More on the rebranding of PS122. To what extent does a name matter? What happens to the history it holds? (The New York Times, 2/13/18)
An interview with Hadar Ahuvia about her work on Israeli folk dance, Everything you have is yours?, before its premiere at the 14th Street Y. (The New York Times, 2/6/18)
On Mina Nishimura's Bladder Inn (and X, Y, Z, W), a dance for the far reaches of St. Mark's Church. (The New York Times, 2/2/18)
On tracing/chasing dance histories, through the lens of recent works by ODC/Dance, Marc Brew, and Mike and Dr. Mique'l Dangeli. For Open Space's Limited Edition series. (2/1/18)
On the long-awaited reopening of PS122 — now Performance Space New York. (The New York Times, 1/9/18)
A preview of Jaamil Olawale Kosoko's Séancers at Abrons Arts Center. (The New York Times, 12/5/17)