88 stories by "Siobhan Burke"
Danspace in Manhattan celebrates its anniversary with a festival that honors artistic transmission, passing down and reinventing older works.
With the high-energy "I AM," Brown takes her signature interweaving of African diasporic dance forms to new heights.
The Cuban company's program at the Joyce Theater includes three U.S. premieres.
Miguel Gutierrez's "Super Nothing" at New York Live Arts asks how dance can confront the steady stream of life's troubles.
In "Dear Lord, Make Me Beautiful," an evening-length dance, the choreographer considers what scares him but also what it might feel like to have burdens lifted.
Netta Yerushalmy's "Movement" at N.Y.U. Skirball comes from a patchwork of sources: TikTok, television, marching band practice and more.
DD Dorvillier's solo at the Chocolate Factory evokes a dream state as it digs into the same river of dance twice.
From the first solo to the euphoric final bows, dance is essential to the world-building of "Cats: The Jellicle Ball." Watch four standout dancers from the reinvented classic.
Pam Tanowitz's "Day for Night" flows with and against the current of its surroundings, reflecting the park's strange mix of the natural and man-made.
Fresh Tracks, at New York Live Arts, showcases early-career dance makers. This year's talented crop wonders about next steps.
Under the banner "American Legacies," the Martha Graham Dance Company dusted off a classic, "Rodeo," premiered a companion piece and welcomed FKA twigs for a guest solo at City Center.
In "Until the Lion Tells the Story…," Lacina Coulibaly walks in his ancestors' footsteps.
Gayli, a dance night at a Brooklyn bar, provides a welcoming atmosphere for Irish social dancing, an exacting art form known for high-pressure competition.
In Ursula Eagly's "Dream Body Body Building" at the Chocolate Factory, the dancers seem to be transmitting a dream state to the audience.
Her program at the Joyce Theater features an extroverted dance from 1975 and two new works: an introspective solo to Jacques Brel and an antic look at a choreographer creating.
In this work, inspired by Quentin Tarantino's "Kill Bill" films, Croatian performers address the fraught director-actress relationship at its core.
George Lee was the original Tea in "George Balanchine's The Nutcracker." A documentary filmmaker found him and a lost part of ballet history in Las Vegas.
Molissa Fenley's "From the Light, Between the Lamps," a collection of short works, is a steady, rigorous exploration of movement to music.
The group, led by Leonardo Sandoval and Gregory Richardson, leans into tap's oneness of dance and music for "I Didn't Come to Stay."
Recent experiments in describing dance, like the film "Telephone," approach it not just as an accessibility service but as a space for artistic exploration.
In her funny and fidgety way, the choreographer Michelle Ellsworth presents new works that probe the uses and limits of language and movement.
In two programs, (La)Horde and the Ballet National de Marseille introduced New York to work that taps into a youthful, rebellious spirit.
Spare and simple, "Aging Prelude" at the Chocolate Factory is a new beginning for the choreographic duo Chameckilerner.
The center, an unstructured retreat for dance artists, ran into financial difficulties that were heightened by the pandemic.
Yoshiko Chuma and her company's "Shockwave Delay" at La MaMa layers movement and music with video and spoken text. It's a lot to take in.
