357 stories by "Brian Seibert"
The polka chinata, in which two men whirl together in a crouch, is revived in a dance by Alessandro Sciarroni, coming to PS21 in Chatham, N.Y.
The choreographer and his Puremovement troupe brought their touring show, "Nuttin' but a Word," to Prospect Park for BRIC Celebrate Brooklyn!
"One Dance," part of Korean Arts Week at Lincoln Center, puts a contemporary spin on rituals and ceremonies.
The Lower Manhattan Cultural Council's free summer arts festival presented several pieces, including "duel c" on Governors Island, that employed humor for serious purposes.
Carlota Santana is neither a star performer nor a choreographer. But her skills as a director have kept her company an active part of the New York scene.
An arts program in a California state facility disproves the idea that "nobody dances in prison," encouraging inmates to channel their lives and emotions into movement.
Ballet Hispánico debuts two works: one about the 17th-century nun and poet Sor Juana Inés de la Cruz, and the other, "Papagayos," featuring a supernatural hat.
Mack, whom one student called an agent of change, wants to "create a place where people feel like themselves" " and a model for the professional world.
The dancer, also known as HallowDreamz, is the face of krump in New York. Now he's found another artistic home with the choreographer Andrea Miller.
Two South Asian dance troupes, Nrityagram and Chitrasena, exemplars of different styles, team up for a program at the Joyce Theater.
Is theatrical choreography at a turning point? Or just leaping, lurching and shimmying as usual? Our critics weigh in.
Juliana May's "Family Happiness" at Abrons Arts Center at times feels like a punishing exercise.
The spring gala featured premieres by the veteran Christopher Wheeldon and a newcomer, Alysa Pires. The surprise was the lack of contrast and risk.
A premiere by Judith Sánchez RuÃz goes its own way but, like Brown's work, shows an active, questioning mind and a sensual physicality.
Shamel Pitts's "Touch of Red," at New York Live Arts, takes place in a boxing ring. It's not a competition, though. It's a relationship.
A decade after its rebirth, the company is assured and radiant in a challenging Balanchine and a moody piece set to James Blake's electronic soul music.
The two premieres in the company's two-week run at the Joyce Theater are by fledgling choreographers whose efforts don't add much to Graham's legacy.
The choreographer Beth Gill's "Nail Biter," at the Fisher Center at Bard College, is absolutely deliberate but also mysterious.
Atamira Dance Company's "Te Wheke" at the Joyce Theater drops you into its world and trusts you can swim in it.
Schlenzka, who took the reins in 2017, presided over a rebranding and a new name for the organization " and an experiment in artist rule.
Baras's show, the only dance production in this year's Flamenco Festival New York, was looser than usual, with soothing moments and good times.
With a renovation, new studios and the return of dance to the Kaufmann Concert Hall, an institution once central to dance in New York invests in its future.
Devoting his long life to dance, he was also a choreographer, an educator and an author, and was still onstage in his 90s.
The company's run at the Joyce Theater in Manhattan, featuring a premiere set to the soulful music of Bill Withers, is fun and clever in spots.
"Blackbare in the Basement," Jordan Demetrius Lloyd's first evening-length commission, shows a distinct voice still developing.
