American Ballet Theatre returns with a new work by Christopher Rudd, featuring an all-Black cast; New York City Center’s Fall for Dance Festival showcases dance works with wildly contrasting styles; and more.
is one of them. As a member of the ensemble Nrityagram, based near Bangalore, Satpathy was one of the most compelling exponents of the classical Indian form Odissi. Since leaving the group, she has gone even further, exploring new themes, movements, and musical worlds.
She has spent the past year taking in, and creating solos in response to, the Metropolitan Museum of Art’s paintings and sculptures, as the museum’s artist-in-residence. Her reflections have led to her latest work, “Dohā,” in which she considers the relationships between prayer and play, precision and spontaneity. It premières in the Met’s theatre on Sept. 13., twenty dollars gets you a triple bill of dance works, often in wildly contrasting styles. Take Program 3: it opens with “Morani/Mungu”—Jamar Roberts’s extraordinary solo for himself, a reflection on violence and power that is half exorcism, half molting—and ends with one of Spain’s most inventive young flamenco stars, María Moreno, accompanied by the singer María Terremoto, whose voice, as her name suggests, moves mountains. On Program 4, the Kyiv City Ballet, exiled from Ukraine by the war, performs a work inspired by Ukrainian folk dance, “Men of Kyiv.” Kaatsbaan Cultural Park, on the grounds of a former horse farm in Tivoli, N.Y., has established itself as an idyllic spot to watch dance. This year’s includes “The Glass Etudes,” a series of five new pieces set to Philip Glass’s “Études for Piano” by various choreographers, including the eminent postmodernist Lucinda Childs, the ballet choreographer Justin Peck, and the Brazilian tap artist Leonardo Sandoval. Another highlight: a revival of Mark Morris’s “Gloria,” from 1981, in which the dancers crawl, run, fall, and exult to Vivaldi’s exuberant choral work of the same name, suggesting the joy and the dejection that come with being human.“The Runaway,” had people whooping in their seats, has made a new piece for the company that premières as part of N.Y.C.B.’s fall season . Andreturns with a new work by Christopher Rudd , featuring an all-Black cast of dancers. The company also performs Alexei Ratmansky’s “The Seasons,” a windswept suite inspired by the weather and set to music by Glazunov. ♦Never miss a bigstory again. Sign up for This Week’s Issue and get an e-mail every week with the stories you have to read.
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