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Contemporary Dance

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ENTERTAINMENT
February 10, 2012
WHEN SHE was 7, Lindsay Browning was nervous and excited waiting for her father to come to her school. When he arrived, he was dressed as Abraham Lincoln to teach her class about the former president's life. Today, the Philly-based dancer has transformed that childhood experience into a contemporary dance titled "Lincoln Luck. " Browning was inspired by imagining herself as Lincoln's "daughter of the future," basing her image both on Lincoln's personal history and on her father's portrayal of him. The performance explores themes such as luck and fate, and how they relate to Lincoln's life.
ENTERTAINMENT
September 22, 2000 | By Miriam Seidel, FOR THE INQUIRER
Yvonne Rainer belongs to that small club of artists who've made a mark in more than one field. A legend in contemporary dance for the pioneering work she created at Judson Dance Theater in the 1960s and early '70s, Rainer went on to make a body of influential experimental films that have won her acclaim and honors, from the MacArthur "Genius" award to multiple Rockefellers and Guggenheims. On Saturday, she'll be at the Susan Hess Studio to talk about her years as a dance radical, opening the Philadelphia Dance Project's season-long series, "The Post-Judson Journey," which will look at the roots of postmodern dance.
NEWS
September 20, 2013 | By Merilyn Jackson, For The Inquirer
What on earth could the River Nile and Riverdance have in common? They are the sources for two vastly different dance works opening Thursday as part of the Fringe Festival's final weekend. While both flow from traditional dance cultures, their choreographers, Reggie Wilson and Colin Dunne, reroute their Africanist and Irish disciplines into contemporary dance idioms. New York's Reggie Wilson/Fist & Heel Performance Group opens at the Suzanne Roberts Theatre with the world premiere of his Moses(es)
NEWS
November 1, 2001 | By Miriam Seidel FOR THE INQUIRER
What the Silesian Dance Theatre is not: a group of quaintly dressed dancers presenting Polish folk dances of their region. What the Silesian Dance Theatre is: Well, that's a little harder to say. The 10-year-old troupe, founded by questing spirit Jacek Luminski, was the first modern-dance company in Poland. Its distinctive and compelling style, adapting Polish and Jewish dance traditions along with newer influences, has drawn positive critical comments on tour in Europe and the United States.
NEWS
April 5, 2004 | By Miriam Seidel FOR THE INQUIRER
Two engaging works by the late Anna Sokolow anchored Dancefusion's new program, continuing its admirable mission of reconstructing early modern dance by Sokolow and others. The company shared this full but not over-long evening at the Painted Bride with Opus 1 Contemporary Dance, a local group making its first appearance in the city. Sokolow's 1974 Quartertones, a solo danced on Saturday by Janet Pilla, seemed at first to recall Martha Graham's solo works - not surprising, given that Sokolow studied and danced with Graham.
NEWS
January 17, 2005 | By Lisa Kraus FOR THE INQUIRER
How does African dance look when standing on the shoulders of ancestors but moving into the 21st century? Kariamu & Company: Traditions, in performance Friday at Conwell Dance Theater at Temple University, presented an answer in works by Kariamu Welsh, Saleana Pettaway, and Ghanaian guests F. Nii Yartey and Joshua Ashai Trebi. Their contemporary dance rooted in tradition uses storytelling and dynamic play between movement and rhythmic music, while staying open to new cultural influences and movement languages.
ENTERTAINMENT
September 12, 2015 | By Jim Rutter, For The Inquirer
A scene in the college football movie The Program depicts two facepaint-sporting defensive players firing each other up by butting chests, pounding shoulder pads, and then spitting in each other's mouths. You don't need to have played football to understand it or to not see it as disgusting - you just need to have grown up as a boy. Still Standing You , Pieter Ampe and Guilherme Garrido's Fringe Festival exploration of masculinity, shows that you needn't be an American boy to understand it either.
NEWS
November 10, 2013 | By Merilyn Jackson, For The Inquirer
At the Painted Bride on Thursday night, the artists of Kun-Yang Lin/Dancers bared heart and soul, combining them with superb technique. This retrospective evening of dances choreographed by Lin (first seen in New York through the 1990s to 2001) included four that received Philadelphia premieres. Lin moved the company here just five years ago, building it into the highly regarded Philadelphia fixture it now is, with a studio called Chi-Mac on South Ninth Street. Liu Mo - whose background is Chinese classical dance and who has trained in contemporary dance with Lin for only about a year - takes the powerful solo "Moon Dance" (1993)
NEWS
February 6, 2012 | By Merilyn Jackson, For The Inquirer
Throughout their show at the Annenberg's Harold Prince Theatre on Saturday night, Green Chair Dance Group displayed intellect and exuberance in Tandem Biking and Other Dangerous Pastimes for Two . Its three dancers, Sarah Gladwin Camp, Hannah de Keijzer, and Gregory Holt, sustained a high level of gutsy, risk-taking antics, halting only periodically to "explain" what they were doing, or about to do. Founded in 2004, Green Chair is the...
ENTERTAINMENT
March 26, 2016 | By Merilyn Jackson, For The Inquirer
For more than a decade, Philadelphia audiences have enjoyed Gabrielle Revlock's smart dance frolics. Through props, witticisms, and playful moves, she has created a niche for her work as a form of dancey physical theater. In the hour-long Show No Show, which opened Thursday night at FringeArts, she partners with Russian contemporary dancer Aleksandr "Sasha" Frolov. Russia, long the stronghold of ballet, came even later to contemporary dance than Eastern Europe. Observing Frolov's easy expressivity in his frolic with Revlock combined with his kinetically formalized body was not so much a revelation as a pleasure.
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ENTERTAINMENT
March 26, 2016 | By Merilyn Jackson, For The Inquirer
For more than a decade, Philadelphia audiences have enjoyed Gabrielle Revlock's smart dance frolics. Through props, witticisms, and playful moves, she has created a niche for her work as a form of dancey physical theater. In the hour-long Show No Show, which opened Thursday night at FringeArts, she partners with Russian contemporary dancer Aleksandr "Sasha" Frolov. Russia, long the stronghold of ballet, came even later to contemporary dance than Eastern Europe. Observing Frolov's easy expressivity in his frolic with Revlock combined with his kinetically formalized body was not so much a revelation as a pleasure.
ENTERTAINMENT
September 12, 2015 | By Jim Rutter, For The Inquirer
A scene in the college football movie The Program depicts two facepaint-sporting defensive players firing each other up by butting chests, pounding shoulder pads, and then spitting in each other's mouths. You don't need to have played football to understand it or to not see it as disgusting - you just need to have grown up as a boy. Still Standing You , Pieter Ampe and Guilherme Garrido's Fringe Festival exploration of masculinity, shows that you needn't be an American boy to understand it either.
ENTERTAINMENT
July 22, 2014 | By Merilyn Jackson, For The Inquirer
With the Come Together Festival presenting five nights of dance and the city celebrating the annual Philadelphia Dance Day with free workshops, performances, and a massive dance party on Saturday, you won't be able to miss dance in Philadelphia this week. You can either sit through it or get up and do it, but why not do both? For the festival, Koresh Dance Company is sharing one of its weeks at the Suzanne Roberts Theatre with an ingathering of regional companies, both well-established and upstarts.
NEWS
November 10, 2013 | By Merilyn Jackson, For The Inquirer
At the Painted Bride on Thursday night, the artists of Kun-Yang Lin/Dancers bared heart and soul, combining them with superb technique. This retrospective evening of dances choreographed by Lin (first seen in New York through the 1990s to 2001) included four that received Philadelphia premieres. Lin moved the company here just five years ago, building it into the highly regarded Philadelphia fixture it now is, with a studio called Chi-Mac on South Ninth Street. Liu Mo - whose background is Chinese classical dance and who has trained in contemporary dance with Lin for only about a year - takes the powerful solo "Moon Dance" (1993)
NEWS
September 20, 2013 | By Merilyn Jackson, For The Inquirer
What on earth could the River Nile and Riverdance have in common? They are the sources for two vastly different dance works opening Thursday as part of the Fringe Festival's final weekend. While both flow from traditional dance cultures, their choreographers, Reggie Wilson and Colin Dunne, reroute their Africanist and Irish disciplines into contemporary dance idioms. New York's Reggie Wilson/Fist & Heel Performance Group opens at the Suzanne Roberts Theatre with the world premiere of his Moses(es)
NEWS
January 21, 2013 | By David Patrick Stearns, Inquirer Music Critic
Before the dawn, in a barely civilized netherworld where animals and humans change into one another, Wolf-in-Skins begins. The new theater piece, opening Friday at Temple University's Conwell Dance Theater, revives ancient legends in a modern hybrid of dance and opera. Violent witchery is a frequent plot point. Characters' names have the barbaric, guttural sound of old Welsh. "Grotesque monstrosities juxtaposed with the pure and holy" is how choreographer Christopher Williams describes his fascination with the mythology that drew him to create the first installment of what is projected to become a six-part saga.
ENTERTAINMENT
November 17, 2012 | By Merilyn Jackson, For The Inquirer
The North American debut of Rome's Spellbound Contemporary Dance at the Annenberg Center on Thursday evening was Dance Celebration's 30th-anniversary gift to its loyal audiences. Aside from troupes like Grupo Corpo Brazilian Dance Theater, a Dance Celebration favorite, few companies can afford to maintain dancers of this caliber. Artistic director Mauro Astolfi manages to keep nine well-matched dancers of such slinky suppleness, they were not only spellbinding, but breathtaking. With much similarity in tone, lighting, and tempo to a work Astolfi made for BalletX last week, the Annenberg show began and ended with Lost for Words . That is, the work was broken into two sections, one created in 2011 and the other in 2012.
ENTERTAINMENT
September 8, 2012 | By Wendy Rosenfield, For The Inquirer
Fact: Children love to run around the house naked. Fact: Theater artists love to run around onstage naked. Despite this obvious creative kinship, parents are probably, understandably, hesitant about exposing their young children to 2012's bumper crop of Live Arts Festival/Philly Fringe acts featuring performers in the buff. Not to worry. The curated Live Arts Festival offers plenty of opportunities for budding aesthetes to enjoy edgy new, age-appropriate (most are fine for kids 5 and up)
NEWS
September 7, 2012 | By Ellen Dunkel, For The Inquirer
If the 2012 Live Arts Festival/Philly Fringe had an opening ceremony like the Olympics, it might well be the massive free dance performance called Le Grand Continental , which will take place three times this weekend at the foot of the Art Museum steps. Kicking up their heels will be more than 150 dancers - baristas and businesspeople, students and stay-at-homes, dancer wannabes of all stripes, plus a sprinkling of pros - who auditioned months ago and have spent the summer rehearsing for a half-hour of festival glory.
ENTERTAINMENT
February 10, 2012
WHEN SHE was 7, Lindsay Browning was nervous and excited waiting for her father to come to her school. When he arrived, he was dressed as Abraham Lincoln to teach her class about the former president's life. Today, the Philly-based dancer has transformed that childhood experience into a contemporary dance titled "Lincoln Luck. " Browning was inspired by imagining herself as Lincoln's "daughter of the future," basing her image both on Lincoln's personal history and on her father's portrayal of him. The performance explores themes such as luck and fate, and how they relate to Lincoln's life.
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