The Lincoln Center Festival is presenting a retrospective of the Belgian choreographer’s early works. Last night, I saw her Rosas Danst Rosas, a dance that has been canonized as one of the milestones of contemporary choreography. The film version, by Thierry de Mey, has been viewed and imitated thousands of times, including, most recently, by Beyoncé. To me, the dance has a distinctly “mean girls” vibe—four adolescents, stuck in a kind of study-hall purgatory. Here’s my review of the piece, for DanceTabs.
Last week I attended lecture-dems showcasing the work of two young choreographers, both of whom are also members of New York City Ballet. I wonder what they’re putting in the rosin over there at the StateTheatre, because there really seems to be an upsurge in creativity in the ranks. (But why, still, no women choreographers?) The notion that ballet is a languishing form flies out of the window when one sees their work and hears them talk.
“It has now become clear that ballet is undergoing an important evolution, and I’m not referring to the overwrought, effect-laden mannerisms of much of what is referred to as “contemporary ballet.” This is a change that is blossoming within ballet’s own idiom, using the specific skill-set of ballet dancers: jumping, turning, balancing, sliding, skittering on pointe, flickering the legs at warp speed, tipping and extending hyper-articulate bodies.”