“This marvelous space dedicated to dance and performance in Long Island City, Queens, has just purchased a permanent facility in the neighborhood, but for the time being its forward-thinking presentation will continue at its current home.” —Gia Kourlas, New York Times
Near the start of the choreographer Keely Garfield’s “Perfect Piranha” on Friday, she filled her mouth with water and spit on the floor. Then she filled her mouth again and pursed her blue-painted lips close to the faces of viewers in the small Chocolate Factory theater. Where would she spit next?
Let’s give thanks for the good things in dance this year. More than anything, I’m grateful that, despite a tough funding environment, there are more than ever artists making work and much of it has been extraordinary. It’s hard to choose only a few to highlight.
Follow your bliss. Depending on your mood, that phrase is either enlightening or exasperating. Both could be used to describe Michelle Boulé’s latest work, “The Monomyth,” which takes partial inspiration from the writer and mythologist Joseph Campbell, who coined the saying. It also refers to his vision of a hero’s journey: Embark on an adventure, face a crisis, and, in the end, emerge transformed.
Rebecca Davis has a long relationship with material. Her dancers have worn shoes wrapped in newspaper, leaving smudges of black ink on white paper. They’ve sported unraveling sweaters, the trailing yarn making a sculptural design. She’s covered walls of a theater in security envelopes from floor to ceiling. In the final hands count beginning sounds, Davis moves on to a new source. The body itself is now her canvas, her material.