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My Barbarian wanted to take Miami on a boat ride. “We wanted to interact and be out in the public,” Alex Segade reveals over the phone from Los Angeles, where he just got out of rehearsal for My Barbarian’s first Miami show, coming up this Saturday at the Miami Light Project, as part of Miami-Dade College’s Museum of Art and Design’s “Living Together” performance series this season. ..

The time seems right for Karen Finley to be visiting Miami, to be performing in the black box space of the Miami Light Project at the Goldman Warehouse, and to present her latest performance-art manifesto about the current political landscape, “Unicorn Gratitude Mystery.” In the show, which she began developing as a response to the U.S. presidential election in 2016, Finley plays a unicor..

Getting into a true holiday spirit can be tough in South Florida, where palm trees, expansive beaches and balmy skies signal perpetual summer. Ever-earlier store décor and the incessant push to buy presents – more about commercialism than celebration – can make many of us feel more anxious than festive. Not to worry. Just squeeze in a trip to Miami’s Arsht Center, where City Theatre h..

One of the centerpieces of this year’s Art Week is not a static art work, and it is also one of the most sensuous and disorienting. Lebanese performance artist Tania El Khoury is producing her “Gardens Speak” for the week, courtesy of MDC Live Arts, a piece that has been applauded in cultural capitals throughout Europe and the United States. “It is a work,” she says, “that can only co..

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Playwright Suzan-Lori Parks won the Pulitzer Prize for “Topdog/Underdog” in 2002. But as Zoetic Stage’s superb new production of the play at Miami’s Arsht Center demonstrates, her funny, shocking tale of two brothers struggling to survive is as potent today as it was 15 years ago. Maybe more so, given the country’s deepening divide. Parks’ harrowing drama examines the complex relation..

We are born. We live, have families, grow old. We die, leaving those who loved us to mourn. Playwright Thornton Wilder brilliantly captured the eternal verities of our journey through life in “Our Town,” his 1938 Pulitzer Prize-winning play about life, love and death in a small New Hampshire town at the turn of the 20th century. If you’re at all drawn to theater, you’ve probably ..

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It is fitting at this time of the year that our thoughts often turn to what connects us not what divides us. Whether we are driven by religious or secular motives, many of us are in the spiri..

The end of the 19th century was a golden age for ballet. In 15 years of collaboration, two great Russian geniuses – choreographer Marius Petipa, and composer Pyotr Tchaikovsky – produced ballet st..

Here’s a riddle – name the 1892 box office flop panned by critics for lack of seriousness and for casting too many kids, which has now transformed into a force of nature timed to occur yearly..

It happens every year, right around Thanksgiving, productions of the Nutcracker pop up from coast to coast, marking the start of the holiday season. But on Saturday, Miami audiences have the ..

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Promising a night of airiness and ardor, Dimensions Dance Theatre of Miami will bring “Ballet’s Pointe of Passion” to the South Miami-Dade Cultural Arts Center, where the company joins an att..

People often imagine new artwork is the product of the solitary artist genius slaving away in lonely studios. The South Florida Symphony’s 20th anniversary program foregrounds a different vis..

At an age when many are winding down their working lives, Ignacio Berroa eagerly anticipates a new stage in his career. It would be understandable if the 64-year-old drummer, recognized a..

We know it’s the holiday season when trees light up, menorah candles start to burn, ubiquitous Christmas carols pipe through drugstores, “The Nutcracker” plays on every stage – and in recent ..

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La danza de Miami reafirma su nivel, diversidad y compromiso

Photo: 5. Rebecca Pelham y Marjorie Burnett (sentada) de Karen Peterson & Dancers en Buoyant Dreams de K. Peterson; fotógrafo: Simon Soong
Written by: Orlando Taquechel
Article Rating

Dance NOW! Miami, la Florida Dance Education Organization (FDEO), Miami Dance Futures y la New World School of the Arts (NWSA) colaboraron el fin de semana pasado para presentar la Daniel Lewis Miami Dance Sampler 2017 y así mostrar la abundancia y diversidad de la danza en el sur de la Florida. En esta ocasión, representada por 11 agrupaciones diferentes.

Dance NOW! Miami fue fundada en 2000 por Diego Salterini y Hannah Baumgarten, la New World School of the Arts abrió sus puertas por primera vez en 1987 y Miami Dance Futures fue formada por Daniel Lewis en 1988 para desarrollar la danza en el sur de la Florida. La Florida Dance Education Organization (FDEO), dedicada al avance de la educación de alta calidad en las artes de la danza, fue fundada en 2003 y es la filial estatal de la Organización Nacional de Educación de Danza (NDEO).

Definitivamente, los organizadores de este evento anual (subtitulado en el programa de mano como "más de 150 años de danza – hecha en Miami") cuentan décadas de trabajo en los quehaceres de la danza y esa experiencia fue evidente en lo que resultaría ser una oferta artística armada con inteligencia e iluminada con eficacia por Joshua Gumbinner que avanzó sin problemas, durante un poco más de dos horas, ante el público interesado y entusiasta que llenó el sábado en la noche el New World Dance Theater de la NWSA en downtown Miami.

Dos de las agrupaciones, Sandra Portal-Andreu y la Association of Performing Arts of India, presentaron estrenos mundiales: el desenvuelto “String Theory” de Portal-Andreu donde lo inmediato adquiere categoría de leit-motiv y la encantadora “Vamam”, danza tradicional teatralizada y dibujada con autoridad carismática por Radha Kotamraju y Reneeta Basu.

Otros tres grupos (el Dimensions Dance Theatre of Miami de Jennifer Kronenberg y Carlos Guerra, Karen Peterson and Dancers y Dance NOW! Miami) ofrecieron fragmentos de obras representativas de su manera de hacer: “Fever” de Vicente Nebrada, “Buoyant Dreams” de Peterson y “Bridges Not Walls” de Salterini & Baumgaten.

La fuerza de los hombres de Dimensions (Fabián Morales, Stephan Fons, Josué Justiz y Kevin Hernández) queda en la memoria como uno de los elementos más llamativos del programa pero el trabajo de pareja de Morales junto a la expresiva Gabriela Mesa lo proyectó igualmente como un intérprete apto para la entrega melodramática. “Buoyant Dreams”, apoyada por imágenes en video de Maria Lino, es un ejercicio de danza integrada que irradia ternura en la ejecución de dos intérpretes de enorme sensibilidad: Marjorie Burnett y Rebecca Pelham.

Por su parte, Adele Myers (de Adele Myers and Dancers) asumió con desenvoltura el rol de cheerleader entusiasta en un solo humorístico extraído de “I love you. Good night”, una obra en proceso.

El resto de los grupos participantes presentaron trabajos que ya parecen tener en repertorio:

Atma Yogadance entretuvo a los presentes mientras se acomodaban en sus asientos y abrió la función que reseñamos con la obra de grupo Back to the Garden (2016), basada en una escultura de Timmerman Dougherty. Alan Alberto (artista invitado del Festival Ballet Providence) y Andrea Dawn Shelley, representando a iMEE, se entregaron al trazo histriónico en el intenso Frozen Angels (2010).

A continuación, los bailarines del Arts Ballet Theatre of Florida de Vladimir Issaev invadieron la escena y cerraron la primera parte del programa de manera trepidante con Danzón (2011) de Yanis Pikieris, una obra de grupo que arrebató al público y donde se destacaron las parejas integradas por Lusián Hernández y Haowei Zhu, Janis Liu y Johnny Almeida y Hinano Eto y Kazuya Arima.

NWSA Dance Ensemble (bajo la dirección de Mary Lisa Burns y con Joel Mays de Dance NOW! Miami como artista invitado) sobresalió al abrir de manera impecable la segunda parte con Promenade (2006) de Robert Battle, y casi al final de la noche, Momentum Dance Company de Delma Iles, la compañía de más larga trayectoria entre las presentes, presentó “Dido” (2016), un sofisticado material especial a la medida de la presencia alucinante de Barbie Freeman.

Por último, el cierre espléndido a cargo de Dance NOW! Miami con su elocuente alegato político Bridges Not Walls (centralizado por un Luke Stockton calibrando el subtexto de cada movimiento) dejó bien claro que la danza en Miami no es solo una manifestación artística de alto nivel profesional sino también una expresión comprometida con su momento histórico.

 


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