The summer may be on its way out, but things are really just revving up in nora chipaumire’s fantasy boxing ring. Decked out in all manner of protective gearfrom imposing shoulder pads borrowed from American football paraphernalia to African medicine belts snaking their way around her waistshe is ready to duke it out with the superhero avatar of her absentee father, conjured up from scarce evidence: elusive childhood recollections, an old identity card, and hearsay.
The New York Theatre Ballet (NYTB) has been widely recognized for its LIFT program, which provides rigorous classical dance instruction and performance opportunities on full scholarship to the city’s underserved and homeless children. The LIFT program builds confidence, discipline, and coordination, and, once in a while, turns out a virtuosic art-maker like Steven Melendez, who has exceeded even the program’s most optimistic expectations.
The life-force that moves through the roots of a dandelion,” reads the sign, “was thought to be the same life-force that moves through us.” The text is barely noticeable, printed on a slice of laminated paper and tucked into the pot of a scraggly plant. The fact that it is a quote from Porter Shimer’s book Secrets of the Native Americans is hidden beneath its soil.
Mozart Dances (2006) is one of Mark Morris’s grandest and most pleasurable artistic achievements. This evening-length work in three sections elucidates the prominent themes in Mozart’s compositions with choreography that holds its own when paired with the music that has intimidated many choreographers.