Fuse is an Italian digital art studio and production company led by founders Mattia Carretti and Luca Camellini, and a group of engineers, designers, architects and artists who stage artworks, shows and exhibits, including tonight's Dӧkk.
On a Tuesday night in Atwater Village, Teresa "Toogie" Barcelo is creating a portal. With her arms stretched out, she beckons the participants of her movement workshop, Wiggle Room, to join her on the other side, where they will meet a renewed version of themselves. "Walk into the next iteration of yourself," she commands. The participants, who have spent the last hour squirming, shaking and humming, cross the invisible threshold. Their limbs swing loosely, their smiling faces sticky with sweat.
As the curtain rises during The Stars of New York Dance competition, Cheryl Todmann hopes you will be in Brooklyn sitting in The Theater at City Tech. When the 15th Anniversary Divine Nine Dance Off begins at 7 p.m. on November 14, Errol Louis, of Spectrum News NY1, will be the host and Laurie A. Cumbo, Commissioner of NYC Department of Cultural Affairs, will be honored. But children will be the beneficiaries of the competition.
Eight spinning robot vacuums near the beginning of the Asian Art Museum's latest exhibition end up spraying around more of the hot pink glitter than they clean up. That's the point of the piece "Puff Out" by :MentalKLINIK. "If they want to rest, they rest," said Naz Cuguoğlu, the museum's assistant curator of contemporary art. "And if they want to party, they party." The same might be said for visitors to the dance-centric "Rave into the Future: Art in Motion," opening Friday, October 24.
Accompanied by the San Jose Chamber Orchestra, sjDANCEco is looking to leave audiences "Spellbound" by its Oct. 10-11 performances at the California Theatre in downtown San Jose. The program features new works by company choreographers Maria Basile and Nhan Ho, along with guest choreographers Hsiang-Hsiu Lin, Fred Mathews and Colin Connor. Performances start at 8 p.m. Tickets are $31-$124 at sjdanceco.org/tickets.
A ticking clock, heavy breathing, the squeak of sneakers on the dance floor, and the voices of runners who came to the sport from unconventional backgrounds. These are the sounds that score choreographer Alyssa Mitchel's cast of dancers as they reinterpret what it means to push your body to its limits in Mitchel's new multimedia dance production, "Endure," at Dance Mission Theater, which has its first performance on Oct. 3.
My grandma, Millie, played a huge role in my life. I think a lot of people can relate to being really close to a grandparent and feeling that they understand you more than most. Millie was that person for me. When I was two years old, my mom was hospitalized for a couple of months with a broken ankle, so I stayed with Millie while she recovered. We both lived in Chicago.
The collaboration between sound and dance duet Deriva Arcana, visual artist Correo Electrónico, and singer Xiaomi Porno explores the emerging possibilities of multimedia, highlighting disciplinary integration.
Hunter emphasizes the importance of a Deaf-led organization in presenting the work of Deaf artists. Without proper access, many Deaf artists struggle to communicate their vision effectively.
"At 82, Christine Thynne is an emerging artist. Risk! There's a colossal amount of risk, Thynne says. She is about to perform her show, These Mechanisms, over three weeks at the Edinburgh fringe."
The dance is non-stop, a showcase for the tremendous dancers of her company, all quite different bodies but brilliant technicians, rooted in classicism with Tharp's easy synthesis of jazz, contemporary and vernacular dance forms.
"After forty years as Artistic Director of his eponymous company, the Stephen Petronio Dance Company, Petronio has decided to close shop—a financial decision brought on by shifting interests in both private and public sources of funding."
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"I had been that overwhelmed undergraduate in real life, trying to keep up with demanding economics classes at Stanford University, while simultaneously dancing during a 46-week season as a member of San Francisco's corps de ballet."
Murphy, who performs on the lines with a crew of other dancers, said he used to design his routine around the original, single poles. 'With the single pole, you could do a lot. It's one pole, you could go crazy.' He said he used to be able to seamlessly twirl on any part of the single pole. Now he's relegated to the bottom half, just under where the pole splits, spinning just barely a foot off the ground.
The arts are under siege, as highlighted by the alarming termination of numerous National Endowment for the Arts grants, indicating a troubling shift in national financial priorities.
