Solo Trips: Graham Cole’s dances beyond isolation
January 24, 2022
The native Portland choreographer returned to his home town as the pandemic hit. He’s emerged with a fresh vision and three new works at A-WOL.
The native Portland choreographer returned to his home town as the pandemic hit. He’s emerged with a fresh vision and three new works at A-WOL.
push/FOLD’s festival drew national and international contemporary-dance ideas from Brooklyn to New Jersey to Portland to L.A. to the Dominican Republic and Taiwan.
A dance form born in majorette lines and adopted by queer dance clubs hits the streets in Portland’s Boise neighborhood.
push/FOLD gets back to performing with a rethinking of a recent dance, “Early,” for a Mexico City festival.
Dance workshops aid houseless women, children and nonbinary people at the Rose Haven shelter.
A dance troupe navigates Covid-19 shutdowns in a new studio and looks to Portland’s modern dance elders for direction.
With studio dance classes on hold for the pandemic, dance teachers and their students have begun to adapt to the new reality: Zoom dance classes. It’s working.
After some online tension from the dance community, Portland’s Big Four dance companies agreed to change in response to Black Lives Matter.
COVID-19 and Portland dance: spaces close, shows are delayed, classes shift online, financial crises loom.
Jess Evans and Lyra Butler-Denman’s “Delicate Fish/BARDO” takes a tender look at grief, pain, and death.
Within the joy of Darvejon Jones’ dances at BodyVox is also the shadow of his social commentary.
It’s Sunday night and I’m at New Expressive Works, watching a few minutes of tech rehearsal for the upcoming Listening to Silence, a dance performance co-created by NEW founder and executive director Subashini Ganesan and Yashaswini Raghuram, the assistant director of Odissi
NW Dance Project’s weekend holiday show, “Winter Wonders,” felt like a sampler plate of grandma’s cookies.
Amy Leona Havin draws on her Israeli dance roots for “mekudeshet,” a dance about how we make things sacred
Samuel Hobbs’ Union PDX dance festival: showcasing dance, confront the problems it faces in Portland.
Across genres of Indian art, rasas—the juice or essence that classifies the aesthetic of the work—play a key role in transporting the audience to a realm of wonder parallel to the one we live in. Though the ancient form of Indian dance,
Portland’s Shaun Keylock Company staged its first evening-length performance this past weekend at New Expressive Works, offering contemporary pieces that demonstrate the emerging company’s aesthetic and interests, as well as founder/artistic director Shaun Keylock’s curatorial practice, which combines technical rigor with historical
Ordinary Devotions, a new contemporary dance work by veteran Portland choreographer and performer Linda Austin, is meant to do two things: find glamour in everyday objects and honor the ordinary—and extraordinary—qualities of the aging body. Now 65 years old, Austin has had
Tap, much like jazz music, has historically been a form of communication in and of itself
Though it includes classical ballet technique, the program has a more forgiving view of failure: its lighthearted antics and vaudevillian sensibility provide a laugh for the audience and make the performers relatable and likeable.
