Dance

Arts Organizations Push Back on NEA Cuts

by David Sepulveda | Apr 7, 2017 7:29 am

DAVID SEPULVEDA PHOTO A roundtable meeting of the Arts Industry Coalition — a group of area arts organizations, arts leaders, and stakeholders organized by The Arts Council of Greater New Haven and hosted by the Community Foundation for Greater New Haven in its offices on Audubon Street — discussed what can be done to save the National Endowment for the Arts (NEA) and the National Endowment for the Humanities (NEH), and what might be done if they are dissolved, as a current budget proposal from the Trump administration suggests they could be.

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A Festival Soldiers On

by Brian Slattery | Mar 30, 2017 10:25 pm

Courtesy A&I Chad Herzog, the International Festival of Arts & Ideas’s interim co-executive director and director of programming, stood on the stage in a large room on the first floor of Alexion, on College Street. Before him, artists and filmmakers mingled with bankers and civic leaders. A countdown clock projected on the wall that looked more like something for a sports event — maybe a nod to March Madness? — had just run out. Herzog was on stage to announce A&I’s lineup for 2017.

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At Elm City Dance Collective, You Meet You

by Lucy Gellman | Mar 30, 2017 12:02 pm

Lucy Gellman Photo Lindsey Bauer — or maybe it was some version of her former self, or maybe someone else — strode toward a cluster of dancers. She stepped forward. Stepped back. Stepped forward. Kellie Ann Lynch held up a hand and looked at the group, breaking a building tension.

“Do we need a little more up, down?” she asked, her arms swinging as she spoke. Bauer nodded as if to say, yeah, let’s try that. A moment later, she was pushing violently against members of the group — and then she was airborne. 

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Whelan Has A Way With “Words”

by Lucy Gellman | Jun 24, 2016 7:02 am

Erin Baiano Photo In “First Word,” a silent solo that follows Tyondai Braxton‘s “ArpRec1,” acclaimed dancer Wendy Whelan rediscovers her body: Her arms, that have carried so many classical performances, are now unbound. Her long, dextrous torso reaches forward and snaps back. Her legs—how they bend so violently when asked!—delight in new configurations. Even her huge eyes, deeply expressive when they catch the light, convey a profound sort of reeducation. When fellow dancer Brian Brooks joins her onstage for an exercise in impossible synchronicity, it’s all that the audience can do to try to not blink, lest they miss something.

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Louder Than “A Thousand Words”

by Lucy Gellman | Jun 23, 2016 7:07 am

Erin Baiano Photo Wendy Whelan and Brian Brooks have a message for New Haveners: Reinventing yourself should never stop, and should never feel completely comfortable. For Whelan, who gave her pointe shoes to Brooks sometime after retiring from the New York City Ballet (NYCB) two years ago, that sense of self-renewal is vital — and she wants to share it widely, through movement.

While that phase of her career began long before New Haven, there’s now a chapter of it in the Elm City, where she and Brooks arrived earlier this week to familiarize themselves with and rehearse on the Shubert Theater’s well-loved stage. Thursday and Friday night, they will appear there in the world premiere of Some Of A Thousand Words, a collaboration with the New York-based quartet Brooklyn Rider that takes off where Whelan and Brooks’ 2012 project Restless Creature ended. Where Restless Creature, a series of sketches, was danced to Brooklyn Rider’s take on several 20th-century composers, particularly Phillip Glass, Some Of A Thousand Words includes an original composition from the group’s violinist, who will perform onstage with the duo. The performance takes place as part of the International Festival of Arts & Ideas

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Yang Hao Dances The In-Between

by Lucy Gellman | Jun 22, 2016 7:25 am

Judy Rosenthal Photo Just six or seven minutes into Pied à terre, dancer Yang Hao did something that the audience, bracing for a kinetic performance, may not have expected: He lay down. Prone, pressed right up against the floor as if totally exhausted. As if his body brought with it an immeasurable weight. The room fell into total silence. Everything up to this point had focused in on minute, measured but powerful gestures: the flick and flutter of fingers, clean snapping of wrists, arch of his back against his rolled shoulders. Was this an early admission of defeat, or something else?

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