Charles O. Anderson is an associate professor of African Diaspora Dance Studies and the Head of the Dance Program at The University of Texas at Austin.
Jonah Bokaer, Daniel Arsham and Pharrell Williams open the Dallas Symphony Orchestra's Nancy A. Hasher and David J. Haemisegger Family Soluna International Music & Arts Festival with the world premiere of Rules of the Game, with choreography by Bokaer, visuals by Arshamand music by Williams, played live by the DSO and arranged by David Campbell, on May 17 at Winspear Opera House.
Katie Cooper didn’t expect success to arrive so quickly. “I’m surprised how fast it has all happened,” says the artistic director of Avant Chamber Ballet, “especially getting permission to do the Balanchine pieces… My wish list for the company is getting shorter for sure.”
The timing couldn’t have been better. Retired dancer Willy Shives had been working his way up the chain of command at Joffrey Ballet and was looking for his first job as an artistic director when the position came open at Ballet San Antonio.
Cuba's Malpaso Dance Company made a strong impression on me when I saw the company at Jacob's Pillow Dance Festival last summer in a program of works by Malpaso artistic director Osnel Delgado and Trey McIntyre, whose Texas roots run deep.
From April 12-17, eleven cutting-edge artists present new works, projects, and performances at unexpected sites throughout the city, creating what director Karen Farber calls “endless opportunities for transformation and surprise.”
Dance fans have another chance to see Dark Circles Contemporary Dance artistic director Joshua L. Peugh’s The Rite of Spring on April 29-May 1 at Erma Lowe Hall Studio Theatre in Fort Worth.
I always expect to be dazzled when I walk into a Houston Ballet rehearsal, but watching this talented company sing as well as dance raised the thrill factor.
The Sleeping Beauty is one of the classical ballet’s most technically difficult yet visually dynamic works — a ballet by which ballet companies are judged.