Gillian Jakab

Tykulsker and her performers explore physical extremes and “community cohesion” at the heart of these tensions at levels ranging from the interpersonal to the national. The piece is a mash-up of postmodern disorder that mirrors the senselessness of violent incidents and the randomness of whether they get attention. The piece is coupled with Jennifer Harge’s movement installation Mourn and Never Tire, which serves as inspiration for her black community and a eulogy for black lives lost to police…

From the art majeur to the avant-garde, modern and postmodern dance shines in La Ville Lumière. Although it presents its share of established companies and choreographers, Théâtre National de Chaillot tends to be more experimental and supportive of the up-and-coming than Théâtre de la Ville, where Preljocaj, Bausch, and De Keersmaeker were among this season’s principaux artistes.

MoMA’s exhibition Judson Dance Theater: The Work is Never Done marks a major expansion in the recognition of postmodern dance history. The museum has been steadily collecting and presenting work from the Judson period of the early 1960s, and with this exhibition, rallies and assembles the dances, films, and ephemera in one place.

Olinghouse is the founder/director of The Portal Project, a living archives initiative dedicated to the transmission of performance through archival and curatorial frameworks. Identifying footage that would represent new entry points into Brown’s early work, Olinghouse and renowned video artist Charles Atlas collaborated to create the installation for MoMA. Gillian Jakab sat down with Olinghouse at MoMA

Dance artist Mariana Valencia wants to leave breadcrumbs for her biographer. “I’m not sure who will write a history about me so I’m starting now to help them have good notes.

Dance as a form of perseverance and resistance is not just the stuff of movies. Tatjana Barbakoff, a now much-forgotten historical figure, did just that, at great personal risk. Like Rosie, Barbakoff danced as long as she could in the face of hate during the Holocaust. A dancer from Russia (now Latvia) of Jewish and Chinese descent, Barbakoff moved to Germany and had a successful career performing throughout literary cabarets and theaters in the 1920s and early ’30s.

Trisha Brown’s Accumulation is set to the Grateful Dead’s “Uncle John’s Band,” a song that itself is expressly referential to its bluegrass and Americana influences. This piece, along with two (Spanish Dance, 1973 and Line Up, 1976) set to Bob Dylan’s version of the Gordon Lightfoot tune “Early Mornin’ Rain,” stands stark against the rest of Brown’s early work of the 1960s and ’70s: a silent, site-specific era.

What the Day Owes to the Night (Ce Que le Jour Doit à la Nuit). The title of choreographer Hervé Koubi’s spectacle de la danse is drawn from Yasmina Khadra’s 2010 novel: a coming-of-age love story set in the period before, and the aftermath of, the French-Algerian war. It’s not that the piece draws from the novel’s plot or characters, but rather the novel’s setting, Oran, Algeria, was the home of Koubi’s ancestors, and the poetry of the title captured his imagination as apropos of the work.