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Dance

This Land Is Our Land

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Photo of indigenous American dancer in traditional ceremonial attire: The Land On Which We Dance Inside/Out Performance; photo byGrace Kathryn Landefeld.
The Land On Which We Dance Inside/Out Performance; photo byGrace Kathryn Landefeld.

Jacob’s Pillow shifts the conversation on indigenous dance through its landmark celebration The Land on Which We Dance.

Editor’s Note: This independent, original article generously sponsored by Jacob’s Pillow.

An Arapaho proverb says, “All plants are our brothers and sisters. They talk to us, and if we listen, we can hear them.” It’s an elegantly simple explanation of the interconnectedness of life on and with earth—a central belief in most, if not all, indigenous traditions.

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Dance Review: A.I.M by Kyle Abraham

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Photo of a group of eight dancers, in a cluster formation, all in the same pose, leaning backward: A.I.M in "Drive"; photo by Grace Kathryn Landefeld.
A.I.M in "Drive"; photo by Grace Kathryn Landefeld.

Kyle Abraham is looking for something. The multi-award-winning choreographer and MacArthur Fellow, whose company, A.I.M by Kyle Abraham, makes its mainstage debut at Jacob’s Pillow this week, brings his signature search for identity and struggle with personal and societal emotional trauma to a packed, five-dance program.

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Dance Review: Umanoove and The Happiness Project

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Photo of dancer dancing in large clear plastic bag:The Happiness Project runs through July 21, at Jacob's Pillow; photo by Grace Kathryn Landefeld.
The Happiness Project runs through July 21, at Jacob's Pillow; photo by Grace Kathryn Landefeld.

By Robin Catalano

Happiness is tricky. It’s something we all want, but it often feels just out of reach—that if we do this, buy that, go there, we’ll find it, wrapped and waiting like a birthday gift. The fleeting, often elusive quality of happiness lies at the center of The Happiness Project, a 2016 work by Dutch-born choreographer Didy Veldman, whose company, Umanoove, makes its U.S. debut at Jacob’s Pillow this week.

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He Said, He Said: Les Ballets Trockadero de Monte Carlo at MASS MoCA

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Les Ballets Trockadero de Monte Carlo have been around for 45 years and performed in over 600 cities and towns, Kinda makes them a thing², right? image courtesy the company.
Les Ballets Trockadero de Monte Carlo have been around for 45 years and performed in over 600 cities and towns, Kinda makes them a thing², right? image courtesy the company.

The dance world has been slow to let go of certain stereotypes. Chief among them might just be that men shouldn’t dance en pointe, and that romantic love is best expressed by men and women dancing together.

Which is one of the reasons that Les Ballets Trockadero de Monte Carlo, the 45-year-old, New York City–based company of men in tights (and really, really large pointe shoes) has always been such a blast of fresh air. Not only are they game to get tarted up to play, often hilariously, all the women’s roles in classic ballets, but they also demonstrate serious dance chops that rouse the audience to standing ovation.

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Stranger in a Strange Land: Akram Khan and XENOS

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Akram Khan in Xenos, photo by Jean Louis Fernandez, courtesy of Jacob's Pillow.
Akram Khan, in XENOS, photo by Jean Louis Fernandez, courtesy of Jacob's Pillow.

Akram Khan doesn’t just perform his dances; he lives them. In XENOS, which played to a packed audience on February 21 at the Williams College ’62 Center for Theatre and Dance, he isn’t just a formidable dancer, but also a skilled actor adept at storytelling through explosive movement, small gestures, and poignant moments of stillness.

Whose war?
Whose fire?
Whose hand is this?

from Xenos, written by Jordan Tannahill
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