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Citing the embodied practice of Afro-diasporic dance forms, Abby Zbikowski creates works that pay homage to the effort of living, tactics of survival, and the aesthetics produced as the result. Her newest work, abandoned playground, continuously and relentlessly asks, "What is the necessity of physical rigor, and how can masochism be harnessed for its transformative properties?" In this dance event, 10 performers willfully engage in the brutal action of hyper-physical dance, exposing the process of decomposition and reclamation of their physical and mental states.
The Abrons Arts Center is an Obie Award-winning performing and visual arts program. It supports the creation and presentation of innovative, multidisciplinary work. Exhibit A? The center's spring season of boundary-pushing theater, dance, and performance, including the following:
- the eighth annual American Realness festival (January 5-15)
- the 2017 OpenICE season, featuring an array of chamber, electro-acoustic, improvisatory, and multimedia work (January 23, March 3-5)
- Dutch choreographer Jan Martens' Sweat Baby Sweat, which covers the lifetime of one man and one woman in one hour (January 27 and 28)
- a return of Richard Maxwell's acclaimed Good Samaritans, presented by New York City Players (February 8-March 4)
- Your Hair Looked Great, a series of motivational speeches and TED-style talks that asks us what defines the good life and how we define success (February 9-25)
- Real Talk / Kip Talk, a series of live talk shows about the state of contemporary performance in New York City, hosted by Kippy Winston (February 25 and April 15)
- The Terrifying, a premiere from Minor Theater, which brings horror movies to live theater and experiments with sound, darkness, silence, and suspense (March 12-April 2)
- Aynsley Vandenbroucke, who uses experimental literary devices to create a series of live, three-dimensional essays
- Mourning Becomes Electra, continuing Target Margin Theater's two-season exploration of Eugene O'Neill (April 26-May 20)
- Keen (Part 2), an exploration of that which we avoid: the contours of grief (June 1-11)
- the premiere of Raw Bacon from Poland, from 2016 Guggenheim Fellow Christina Masciotti (June 1-17)
- Dylan Crossman's dance piece Here We Are, which uses movement and an electronic soundscape to explore the concept of humanity within formalism (June 15-17)
American Ballet Theatre Studio Company (formerly ABT II) presents two evenings of classical and new classical repertory, showcasing the talent of the next generation of ballet's professionals. ABT Studio Company, under the artistic direction of Kate Lydon, is made up of 15 dancers (ages 16-20) of outstanding potential. Over 60 of the current dancers in American Ballet Theatre began their careers in the studio company, including such notable principal dancers as Misty Copeland and David Hallberg.
In this new performance, Aynsley Vandenbroucke uses experimental literary devices to create a series of live, three-dimensional essays. She plays with the lines between fact and fiction, narrative and abstraction, legibility and complexity. She works with — and against — the role of formal structures in writing, moving, and making a life.
Note: This show is suitable for ages 18 and older.
Balé Folclórico da Bahia, the only professional folk dance company in Brazil, was formed in 1988 by Walson Botelho and Ninho Reis. Based in Salvador in the northern state of Bahia, and under the leadership of artistic director José Carlos Arandiba, the 32-member troupe of dancers, musicians, and singers performs a repertory that originates from Bahian folkloric dances of African origin and includes slave dances, capoeira, samba, and those that celebrate Carnival. The company highlights the region's culture within a contemporary theatrical vision.
Balé Folclórico da Bahia made its European debut in 1992 when it participated in Berlin's Alexander Platz International Festival and drew an audience of 50,000. Its U.S. debut tour was in 1995-96, and it has since performed in 88 U.S. cities.
The Argentine based, Che Malambo brings fiery Malambo traditions and virtuosic dancing to the contemporary stage for an exhilarating and entertaining show that is perfect for the entire family. Presenting a thrilling, percussive dance and music spectacle, the all-male company's work celebrates the unique South American cowboy tradition of the gaucho.
Created especially for families with children ages 5-10, The Colonial Nutcracker sets Tchaikovsky's classic ballet in wintry colonial Yorktown during the Revolutionary War. The production features classics such as "Dance of the Sugar Plum Fairy" and "Waltz of the Snowflakes," a red-coated mouse army, an enchanted nutcracker prince, and compelling narration that will enhance young viewers' understanding and enjoyment of this timeless story. Rose Menes' delightful staging and choreography, coupled with colorful costumes and Tchaikovsky's enduring score, will captivate audiences of all ages.
Join Hostess Miss Astrid and a bevy of burlesque beauties for the 7th Annual Filthy Gorgeous Burlesque Valentines Spectacular!
After dazzling audiences in 2015, this thrilling group of dance innovators returns to the Armory with the unquenchable energy and blazing focus of a new art form coming into the world. Characterized by snapping, pausing, bone-breaking, gliding, get-low, hat tricks, and real-time in-body animation, flex street dancing evolved from the Jamaican bruk-up found in dance halls and reggae clubs in Brooklyn. As both a dance and a social revolution, FLEXN Evolution testifies and bears witness to a surging movement in America that cannot be ignored. With power, grace, soul, and sheer exhilaration, flex dancers return to the drill hall with a constantly evolving style and vocabulary that explores love and justice and reflects the urgency demanded by the times. Each performance begins with an onstage conversation exploring the complexities of some of society's most pressing issues. Moderated by Reggie Gray and Peter Sellars; special guests include public figures, social justice advocates, community leaders, and youth.
Under a star-filled sky, five performers encamped in the wilderness venture into a full-bodied, psychotropic walkabout - where the push and pull of an extreme event propels each of them to confront their place in the universe. Against an original pulsating sound score that grinds synth and bass, Future Perfect wrestles with our desperation for a spiritual sign and asks: What magic is left?
Harmony examines the reality of Internet surveillance and the government's control on media in China, in an attempt to serve as a warning in the society we live in. Building a harmonious society comes with a cost, and the idea of "Harmony" is an illusion which involves oppression and a loss of freedom. We have recorded voices from people of various background, in order to exhibit a community that thrives on disharmony.
Dylan Crossman's dance company looks at human behavior within formalism. Abrons Arts Center presents Crossman's newest work, Here We Are. While Jesse Stiles' haunting score and the feel of old Prague filter into the old Playhouse, ponder whether three individuals are in love with one another or in love with you, their witness. Or maybe it is the sound of you falling in love again.
Immortal Chi is a fusion of Chinese martial arts and acrobatics, accompanied by an all-female percussion ensemble. Expect adrenalin-fueled stunts, traditional weaponry, feats of human endurance, and stunning costumes. This feast for the senses brings the ancient traditions and rich theatrical history of China to life with a rousing 21st-century twist.
José Maya performs his newest work Latente: A Flamenco Journey, in its New York debut, a journey that takes the audience to the deepest realms of a Gypsy flamenco dancer's soul. Choreographed by José Maya, this program follows him on a quest of self-discovery while an ancestral spirit guides him in this search to freedom and understanding. Maya will be joined by legendary Gypsy singer Juana la del Pipa, powerhouse vocalists José Valencia and Manuel Tañé, and celebrated guitarist El Perla.
Choreographer Ivy Baldwin's latest work, Keen (Part 2), is commissioned by Abrons Arts Center, the Joyce, and the Chocolate Factory. This new dance for the Abrons Playhouse builds upon Baldwin's recent Keen (Part 1) for the Philip Johnson Glass House in New Canaan, Connecticut. Keen (Part 2) is performed by Baldwin, Anna Carapetyan, Eleanor Smith, and Katie Workum, with a score by Justin Jones, lighting by Chloe Z. Brown, and costumes by Mindy Nelson. Keen (Part 2) grows out of an open-eyed exploration of that which we uncomfortably avoid: the contours of grief — the rites and rituals, spoken and unspoken, public and hidden, age-old and brand-new.
The prestigious Nai-Ni Chen Dance Company presents an all-new celebration of Chinese culture commemorating the Year of the Monkey, a year characterized by cleverness, curiosity, and playful mischief. The festive, family-friendly event will showcase thrilling choreography inspired by shadow puppetry, Peking Opera performers in dazzling costumes, live music performed by the Chinese Music Ensemble of New York, and a traditional Chinese marketplace.
The prestigious Nai-Ni Chen Dance Company performs an all-new celebration of Chinese arts commemorating the Year of the Rooster, cousin to the mythical Phoenix, whose song awakens the world each morning and whose confidence and loyalty are well regarded. Delightful red lions, golden dragons, and white peacocks frolic and play to the exotic sounds of traditional instruments, while graceful dancers and astounding acrobats showcase the rich culture of one of Brooklyn's most vibrant communities.
This all-new family-friendly celebration of Chinese culture commemorates the Year of the Rooster and will feature special guest soloists from the Chinese Music Ensemble of New York.
One of the premier dance companies in the Caribbean, NDTC blends the folklore, music, and dance of Jamaica, Africa, and the American South with modern and classical forms to create a vibrant celebration of West Indian culture. Celebrating their 55th Anniversary, their much-anticipated return to Brooklyn Center will feature two programs combining evocative new works with favorites from their extensive repertoire.
By pairing the ballets of legendary creators with those of contemporary visionaries, New York Theatre Ballet fosters new understanding and appreciation of dance. This particular pairing brings together a piece by former NYTB choreographer Edward Henkel and another by Broadway choreographer Chase Brock. The first is a restaging of Henkel's 1986 Revision; the second is the world premiere of Misfit Movement Makers, set to indie-folk and folk-pop music with lyrics.
NYTB is dedicated to inspiring a love of dance in diverse audiences through performances of chamber ballet masterpieces and bold new works, as well as innovative one-hour ballets for children.
Flemish-Dutch choreographer Jan Martens' conceptually rigorous and dynamically engaging work has been captivating audiences across Europe since 2009. In Sweat Baby Sweat, he focuses on the all-consuming love affair between a man and a woman, a couple who can't or won't let each other go. Played out over an hour, in which a lifetime is passing, we are drawn into this modern mating ritual of two profoundly entwined lives, naive and at the same time comforting and confrontational. Dance, music, song, and video imagery are combined to produce this arresting, poignant study of desire, love, and loss.
Martens' works explore the possibility of a perfect balance and symbiosis between storytelling and conceptualism. He doesn't try to create a new movement language, but instead he molds and recycles existing idioms and places them in a different setting, so a new idea emerges. In his work the beauty of the incomplete human being is front and center.
Tom Gold Dance presents its sixth annual New York City season. The Company will give the local premieres of Tom Gold Dance Founder and Director Tom Gold's Oasis and Served.
Vangeline Theater seeks to increase environmental awareness in New York and nationally, resulting in a positive impact on our ecosystem. As a key component of this initiative, Vangeline Theater will remount an evening-length Butoh performance piece, for a total of three performances, and the final show will coincide with Earth Day on April 22, 2017.