On Wednesday we danced: White Bird, OBT, 10 Tiny Dances, etc.

Camille A. Brown & Dancers/Christopher Dougan

Yasmeen Godder’s “Love Fire” created so much enjoyable puzzlement in one particular brainpan that I completely forgot to pass along some news. White Bird announced the lineup for next season’s Uncaged series (WB co-founders Paul King and Walter Jaffe will announce the  mainstage season later this month.) And then once that became clear, why not do an entire dance post? Why not indeed!

First, here’s that season I forgot to tell you about:

Trisha Brown Dance Company, Oct. 11-13: The Uncaged series is generally for companies and choreographers who are emerging or whose work is either too strange or too astringent to fill the Schnitz. Trisha Brown, a post-modern dance legend whose career goes back to the re-invention of modern dance by the Judson Dance Theatre in the 1960s, could qualify in the “astringency” category maybe, though personally, I find her dance accessible and deeply satisfying, flowy and informal, and she “deserves” to dance in the Schnitz, maybe, but since I prefer the cozier confines of Lincoln Hall the Newmark Theatre, what the heck… Below, find her positively balletic “Pygmalion.”

Camille A. Brown & Dancers, Dec. 6-8: Brown is young and rising fast, so she’s a perfect fit for Uncaged. The reviews and YouTube clips I saw were impressive — she’s got a gift that she’s working out in high-energy, high-impact dances right now.

Compagnie Marie Chouinard, Jan. 31-Feb. 2, 2013: Now, Chouinard, a Montreal-based choreographer, qualifies as “strange,” as in “disquieting and bizarre.” Her previous work has explored sexuality and gender themes, often in a nightmarish way, violent and extreme, and I can’t imagine what her “Rite of Spring” will look like!

Contemporary Ballet of Algiers/Abou Lagraa, March 21-23, 2013: White Bird has tapped into the worldwide hip-hop-inspired dance movement, with special attention to Brazil, and this time they’re bringing a North African unit, which promises to have just as much acrobatic punch as anyone.

More dance!

Ten Tiny Dances is doing one of its famous dance-on-a-boxtop performances at the Kennedy School tonight (7 pm, April 4) as a fundraiser for the Metropolitan Learning Center. The performers will include high school students as well as dance pros: Mike Barber, Tahni Holt, Luciana Proaño, Bridgette Walsh and Liz Hayden. Tickets are $20.

Oregon Ballet Theatre’s line-up for its Chromatic Quartet at the Newmark Theatre, a great place to see dance, includes a Christopher Wheeldon ballet, Liturgy, to music by Arvo Pärt, Val Caniparoli’s crowd-pleasing Lambarena, a world premiere of a collaboration between fashion designer Adam Arnold and choreographer Matjash Mrozewski, and the company’s first performance of Balanchine’s choreography for Stravinsky’s Violin Concerto. April 19-28. Use the promo code: QUARTET to get $5 off your tickets.

Old friends — choreographer Luciana Proaño and South African composer/peace activist Eugene Skeef — join forces for “Ancestral Beads,” a “confluence of dance, music and poetry,” at 7 pm April 20-21, Conduit, 918 SW Yamhill. Tickets are $5-$25.

The New York Times has the biggest collection of dance critics in captivity — well, among daily newspapers in North America, and they are hardly in captivity, so… — and they gathered online to talk about critics’ stuff, meaning they argued. First, chief critic Alastair Macaulay argued that we’d reached the end of the line in modern dance. Only the old masters, Mark Morris, Twyla Tharp and Trisha Brown (see above),had what it takes to move a critic these days. And then Claudia La Rocco, last seen here doing a beat-down on the TBA Festival, rose to respond (or at least I imagined her rising from her seat to declaim):

“I do find myself frequently moved, delighted, provoked and deeply satisfied by what I see — by Jodi Melnick and Tanowitz and Wilson, also by numerous other choreographers, including Trajal Harrell, Yasuko Yokoshi, Miguel Gutierrez, Keely Garfield, Tere O’Connor — it’s a long list, though it isn’t one that includes the recent work of Tharp or Morris or Brown. What I love about the messy engagement between maker and observer is how changeable and subjective the whole situation is; how much it encapsulates the day-to-day in-the-mudness of being alive.”

Actually, the debate was civilized, but it revealed that the Times harbors a range of opinion among its dance critics. Now, if it would only give them some space to operate!

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