Ronald K. Brown’s Evidence begins a run tonight at NYC’s Joyce Theater, which will feature the world premiere of On Earth Together, a suite of pieces set to Stevie Wonder songs. The soulful singer is a good match for the company, drawing out the choreography’s quiet but smoldering emotion.
But the version audiences will see this week isn’t complete. Various theaters and organizations throughout the U.S. have commissioned additional songs, and Brown will choreography these pieces on-site. He’s already visited some of the communities, and during his stay taught residents the opening moves to “All I do.” It looks simple: step touches with high knees accented by loose arms thrown to the sky (and the sequence is a good example of Brown’s signature style, which blends African and contemporary dance influences). But there's complexity beneath the calm. At a recent rehearsal, Brown taught the moves to a few visitors. They followed along, struggling to match the dancers' seemingly effortless execution, but obviously enjoying themselves. It would be hard not to given Wonder's joyful declaration of love.
For more information about Evidence at the Joyce, click here.
(From left) Darriel Johnakin, Diego Pasillas, and Emma Sutherland (all photos by Erin Baiano)
Dance Spirit's 2019 Cover Model Search finalists: Darriel Johnakin, Diego Pasillas, and Emma Sutherland! One of them will win a spot on Dance Spirit's Fall 2019 cover. Learn more about the dancers by clicking on their names here:
vote for your favorite below. You can vote once a day now through July 15.
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When it comes to injury-prone body parts, knees reign supreme for dancers. But a little strengthening can go a long way in preventing painful outcomes. We turned to Dirk Hartog, a physical therapist with Westside Dance Physical Therapy in NYC, for three exercises that'll support and stabilize your knees.
James Whiteside (Jayme Thornton for Dance Magazine)
Say you're perpetually impeccable designer Thom Browne. Say you're planning your Spring 2020 Paris menswear show along a "Versailles country club" theme. Say you want a world-class danseur to open the show with some kind of appropriately fabulous choreography.
Who do you call? James Whiteside, of course. On Saturday, the American Ballet Theatre principal—wearing pointe shoes and a glorious pinstriped tutu—kicked off Browne's presentation at the École des Beaux-Arts with a 15-minute, show-stealing solo. Whiteside choreographed the piece himself, with the help of detailed notes from the designer.