by Ann-Marie Wrange*, Vivre Sutinen is now working on her third season as artistic director of the Tanz Im August Festival, Berlin’s annual presentation of tendencies in modern dance and performance. Sutinen’s aim is not only to present aficionados of
By Halima Tahan Ferreira* The Argentinian choreographer Edgardo Mercado has been carrying out his intense activity both locally and internationally. His style is defined by its openness to other disciplines, by its readiness to explore and investigate other fields, such
By Margareta Sörenson* Τilde Björfors is the woman who brought cirque nouveau (new circus) to Sweden in 1995. Two decades later, this particular hybrid art form (which combines circus disciplines, dance, mime, music and lyric theatre) is well established in
Par Octavian Saiu* Gigi Căciuleanu est un danseur, un chorégraphe… un artiste. Les influences peuvent remonter, dans son cas, aux autres maîtres de la danse ou à de grands artistes visuels, de grands écrivains, mais aucune n’arrive à l’expliquer entièrement.
by Emmanuel S. Dandaura* Arnold Udoka is one of Africa’s foremost dance artists, choreographer, scholar and director of dance of the National Troupe of Nigeria. What’s new in Nigerian contemporary dance? What drives the “newness”? Could it be as a
by Peng Tao* Jin Xing: Jinxing Dance Theatre Shanghai How do you interpret “newness” in contemporary dance? Is it an inner strength needed for artistic creativity, or a marketing strategy? I don’t think contemporary dance has a general or unified
by Lissa Tyler Renaud* On Facebook—that de facto arbiter of up-to-the-minute relevance—every mention of Marnie Thomas Wood evinces cascades of comments that feature, along with the requisite “awesome!,” such words as: amazing, beautiful, inspiring, wonderful, fantastic, exciting, happening; knowledge, thanks,