Brian Seibert

6 days ago | nytimes.com | Brian Seibert |Mark Sommerfeld

Max Pollak rehearsing at 92NY for the Uptown Rhythm Dance Festival. The Uptown Rhythm Festival will mix styles, including tap, swing and flamenco, that are flourishing despite problems of rehearsal and performance space. Max Pollak rehearsing at 92NY for the Uptown Rhythm Dance Festival. Credit... Fans of the sometimes disrespected genre known as dance music have a quip: What other kind of music is there? A similar crack could be made by artists put into a category called rhythm dance.

3 weeks ago | berkshireeagle.com | Brian Seibert

CHATHAM, N.Y. — PS21, a newly prominent center for contemporary performance, has a new artistic and executive director, it announced March 27. Vallejo Gantner has already stepped into the role. Gantner comes to the position from a long career in arts administration, including leading the similarly named but unconnected New York City theater PS122 (now Performance Space New York) from 2005 to 2017.

3 weeks ago | nytimes.com | Gia Kourlas |Brian Seibert

"I didn't know how to do this back then," Bebe Miller said near the start of "Vespers, Reimagined." Back then was 1982, when she performed her improvised solo "Vespers" at Danspace Project as part of Parallels, a series organized by Houston-Jones to gather Black choreographers working in experimental dance. Now she knows.

4 weeks ago | nytimes.com | Brian Seibert

AdvertisementSKIP ADVERTISEMENTYou have a preview view of this article while we are checking your access. When we have confirmed access, the full article content will load. The lights go up on two dancers, each isolated in a zone of light. As the two trade moves and trade places, recognizable elements keep recurring: the side-to-side head isolations of Indian dance, a duck walk from vogueing, a hip-hop crotch grab. The ingredients are familiar, but the combination is novel.

1 month ago | nytimes.com | Brian Seibert

What the performers do in those costumes is less developed. Mainly they travel back and forth from one end of the stage to the other, sometimes with sticks - not with the flare of voguers on the catwalk, nor with the simplicity of postmodern pedestrians, just listlessly, stutteringly, as if not sure exactly what they're doing. Periodically, in squares of video projected on the floor, Makini recites poems: one addressed to a newborn, one to a lover, one that we can't hear.