357 stories by "Brian Seibert"
"We the People," Roberts's first dance for the Martha Graham Dance Company, finds the rage and resistance hidden in an upbeat score by Rhiannon Giddens.
Ayodele Casel leads a program celebrating Roach's centenary that also includes works by Rennie Harris as well as by Ronald K. Brown and Arcell Cabuag.
As the second company of Alvin Ailey American Dance Theater has evolved, it has trained dancers and choreographers for tenacity as much as technique.
The choreographers Baye & Asa usher the Sphinx puzzler into a vaguely menacing landscape.
A new work, "The White Feather" is inspired by the history of the Iranian National Ballet, which went dark during the Islamic Revolution and was never revived.
At City Center, performers like Olga Pericet and Manuel Liñán knew the rules they were bending.
Pontus Lidberg's "On the Nature of Rabbits" at the Joyce Theater is a dance haunted by AIDS.
The Afro-Colombian company Sankofa Danzafro presents "Behind the South: Dances for Manuel" at the Joyce Theater.
With Judson Dance Theater and elsewhere, he expanded the possibilities of what dance could be, developing works around basic tasks like eating a pear or simply walking.
"Deep River," featuring the choreographer's company, Lines Ballet, has a meditative flow without much grit.
Jean Butler's "What We Hold," at the Irish Arts Center, is an installation-like work that seeks restrained classicism in a post-"Riverdance" world.
Philadanco! returns to New York with four premieres that highlight the dancers' skills without revealing much deeper artistry.
Tiler Peck, a New York City Ballet star, is making her first work for the company. "It's my opportunity to pass on to the next generation anything that's been given to me."
He worked with the Martha Graham and Paul Taylor troupes and then created his own group, Dan Wagoner and Dancers.
In Compagnie Hervé Koubi's "Sol Invictus" at the Joyce Theater, the dancers' extraordinary moves are integrated into a poetic vision.
The highlight of the street dance festival "Motion/Matter" at the Perelman Performing Arts Center came at the end: an all-styles battle that honored roots.
Lisa Fagan and Lena Engelstein's picaresque "Deepe Darknesse" models itself on the randomness of an ancient Roman novel, "The Golden Ass."
He rose to stardom in an act with Gregory Hines and also performed on and off Broadway.
An exhibition at New York Public Library tells a different, more inclusive story about the genealogy of an art form.
"The March" explores unison, while "Is It Thursday Yet?" concerns a dancer's struggle to understand herself after receiving a diagnosis of autism.
The tap dancer Caleb Teicher and the beatboxer Chris Celiz have expanded an earlier collaboration into an evening-length work at the Joyce Theater.
New York City Ballet's 75th anniversary celebration and Dance Reflections from France delivered some of this year's brightest moments.
Amy Hall Garner is readying the new work "Century" for Alvin Ailey American Dance Theater, on the heels of other premieres and with more to come.
The five dance selections that are part of the Dance Reflections festival take varied approaches to piano exercises written by Philip Glass.
Okwui Okpokwasili and Peter Born's hybrid show, "Adaku, Part 1," about a precolonial African village, mixes dance theater, song and drama.
