Dance

Head of the (dance) class

Students and alumni celebrate the 30th anniversary of the Ruth Asawa School of the Arts

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DANCE Complaining about the quality of public schools is about as ubiquitous as whining about MUNI. Admittedly, the quality of the former has a bigger impact on our future than having to wait for the N another 10 minutes. The good news is that the San Francisco Unified School District is not nearly as bad as its reputation; talk to some parents who have kids in it. While its art components are woefully underfunded, at least they exist. The yearly "Young at Art" exhibit at the de Young Museum (through Sun/20) has a selection from this year's crop.Read more »

International movement

Dancers from Oakland, Cuba, Switzerland, and more represent at the San Francisco International Arts Festival

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arts@sfbg.com

DANCE How do you keep a performance festival alive in a city known for its fractured arts community? A place where officialdom is not exactly ready to jump on the bandwagon, especially when belt-tightening by cutting the arts has become a national sport? Simple. You enlist the people who have always been the arts' biggest supporters — the artists themselves. They know how to work with limited resources; they are risk-takers and have accepted that what they love to do will never make them rich.Read more »

Soul to solo

Movement melds with music in David Zambrano's Soul Project

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DANCE David Zambrano: never heard of him? That just means you're not a member of the international dance community, where he is a superstar. Accolades, particularly about his teaching, flood the internet; phrases like "genius," "not to be missed," and "has changed my life" abound. The only complaint I could find was from a disgruntled student who said "the class was so full that I could barely see the teacher."Read more »

Dancing in the deep

Art and science meet and mingle in Capacitor's 'Okeanos'

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DANCE Jodi Lomask has always been comfortable with both science and art. Perhaps that's not surprising for someone who grew up with a physicist father and a visual artist mother — hanging around with his friends who would came to visit in Connecticut, and going with her to galleries and openings. Still, it's not every child who, when trying to make sense of the world, was also "making dances" in her mind.Read more »

Past, present, future

Choreographers Robert Moses and Sean Dorsey discuss their new, history-inspired works

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50/50

Dancer-choreographers work through the pros and cons of getting older in Jess Meets Angus

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arts@sfbg.com

DANCE Strange how being "of a certain age" can bring so much uncertainty along with it. In the installment of Berlin-based choreographer Silke Z.'s "Just Between Us — The Generation Project" making its US premiere at CounterPULSE this weekend, two guys, at least, will move boldly forward into the middle ages.Read more »

Revealing the future

New works shine alongside classics in a fitting tribute to Alvin Ailey's legacy

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DANCE A stiff breeze is blowing through the venerable Alvin Ailey American Dance Theater, though not enough to ruffle feathers among Ailey aficionados (of which there are millions). The troupe is not dancing better, just differently. For that, they and the audiences have to thank new artistic director Robert Battle, who has been watching and choreographing for Ailey for years, though he was never a company member. Coming to the job as both an insider and an outsider, he knew exactly what to do.Read more »

The great unknown

Together over 30 years, Eiko and Koma are still investigating the secrets of the universe

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arts@sfbg.com

DANCE The United States Bicentennial, 1976, was also the middle of what some have called the Golden Age of American dance. Balanchine premiered Union Jack; Twyla Tharp turned ballet inside out with Baryshnikov in Push Comes to Shove; the Philip Glass-Robert Wilson-Lucinda Childs team had a monster hit with Einstein at the Beach (side note: Berkeley's Cal Performances presents it in October); and the Merce Cunningham Dance Company was invited to the prestigious Avignon Festival for the first time.Read more »

Hits and misses

Nina Haft and Company and Facing East Dance and Music's intriguing, yet uneven, collaboration

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arts@sfbg.com

DANCE When choreographers Sue Li Jue and Nina Haft found that they shared a common interest in exploring the body's memory — of personal experience, history, origins — they decided to make a work in which their individual choreographies would take turns on the stage. Thus the problematic this.placed was born.Read more »

Revisiting the classics

Two veteran choreographers visit the Bay Area with groundbreaking new works

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arts@sfbg.com

DANCE This past weekend two master choreographers, each with more than 30 years experience, still managed to surprise us with fresh goods in their dance bags.

Ohad Naharin's Batsheva Dance Company has a well-deserved reputation for physically lush though highly disciplined choreography. Again presented by San Francisco Performances, Batsheva brought the 2007 Max, whose name may be derived from Naharin's pseudonym of "Maxin Waratt" as the work's composer — or simply is an abbreviation of "maximum." Read more »