You may be hard-pressed to explain what ZZ Top, Eva Longoria, Willie Nelson and Walter Cronkite have in common, but for the Texas Cultural Trust, the answer is simple: Texas.
One of the remarkable things about dance is its consistent ability, despite diversities in origin, method, belief, or even time, to demonstrate our human similarities while providing opportunities to celebrate and appreciate cultural differences.
Even if you’re never seen Pilobolus in concert before, you’re probably familiar with the acrobatic dance troupe’s work. After starring in a Ford commercial over a decade ago, in which the dancers’ silhouetted bodies became the car, the commercial opportunities kept coming: a high-flying performance at the 79th annual Academy Awards, appearances on Sesame Street, Oprah, Ellen, The Today Show, Late Night with Conan O’Brien and more.
I spend a lot of time outside of Texas, for work, family, but mostly to keep up with my home artform: Dance. Nothing makes me happier than running into Texas dance artists doing work outside of Texas. So when a friend came up to me during my time at Jacob’s Pillow asking me if I knew that a Houston dancer was performing with the renowned choreographer Jonah Bokaer, my response was a proud, “Why, yes I do!”
Houston Ballet is throwing a little holiday get-together, at least that's what it looks like from my seat at the front of the rehearsal room as the company enacts the famous party scene from the Nutcracker.
In the months following our two comedy improvisation classes with Beta Theater last year, our teacher, actor Jerry Emeka remarked candidly, “I could not for the life of me figure out what your collective ‘deal’ was.”
ARCOS Dance is known as an experimental platform for dance technology – a merging together of bodies in space and digital creation. It’s like a modern brand of philosophy, an embodiment of human history alongside a projection of its uncertain future.