Performing Arts: Dance
October 9, 2017
Over the past decade, classical Indian dance has taken a foothold in NYC. Not to say there weren’t highly admired dancers in the past like Ritha Devi and Indrani, but now the form has become quite familiar to the contemporary dance audience.

Unequivocally demonstrating a strong technical base, Sanjukta Sinha premiered a Kathak based dance “Kin-Incede” to live, improvised music. High leaps in a diagonal line, and rapide fire turns—invocing whirling dervishes—referenced contemporary inflections in a piece that coasted over evocative, emotional themes.

Dancers from American Ballet Theater shone in Alexei Ratmansky’s “Souvenir d’un lieu cher” (“in memory of a dear place) to a violin and piano score by Ilyitch Tchaikovsky. Clarity of line and musical phrasing make this a compelling work that speaks more directly than many of Ratmanksy’s more step-bundled ballets.

By the end of the evening, the audience was ready to cheer the final two entries. Ronald K. Brown is a perennial audience favorite. His seductive blend of contemporary and club dance with West African traditional dance forms builds on a slow burn of movements the build to a pitch of eye-popping body undulations, isolations and community.

Finally, Les Ballets Trocadero de Monte Carlo performed their fractured version of the 19th century “Paquita” after Marius Petipa, by taking the demanding ballet technique and turning it on it’s tiara. Where once the Trocaderos included one-maybe two men capable of dancing on point, now, they are almost in a league with their ballerina counterparts. There’s no end to the mirth when the single male danseur noble flirts with one of the ballerinas, while another storms off in a huff and they are all engage in a battle of pirouettes, ballet becomes at once humanized.
EYE ON THE ARTS, NY -- Celia Ipiotis

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