There are live dogs onstage in City Ballet of San Diego’s production of Act II of “Swan Lake,” and a live swan, as well – or, as close to a swan as a human dancer can be. Ana da Costa, a Brazilian ballerina new to the company this season, is a stunningly swanlike Odette, with a ridiculously mobile back,
Guts, grit, and women with a bitch of a time getting their dresses to zip when Women of Viv and Lavina Rich’s Push Process deconstruct glamour at the Live Arts Fest.
If music is the lifeblood of dance, Malashock’s choreography adds bones, muscles, and powerful visual imagery. From the lilting playfulness of the opening “Great Day” to a final image of transcendence, “Lifeblood Harmony” is a thrilling evening of dance. Just two more shows, tonight and tomorrow. Here’s why you shouldn’t miss it.
With a congenital deformity in both hips, Bill Shannon needs crutches in order to stand and walk. So he’s come up with a unique way to dance, using Rocker crutches and – whee! – a skateboard. He performs and shares his investigations into “projected narratives” of disability at the White Box this weekend.
YouTurn 2014 offered an intriguing progression from a highly performative dance, to one combining a personal focus with performance, to a piece so private it was like peeking through curtains into the dancer’s living room. It also proved that, while bubble wrap never gets old, body painting does.
In Compagnie Kafig’s San Diego debut last Wednesday, the first piece, “Correria,” demonstrated the all-male company’s energy and range, which goes way beyond hip-hop to include circus, Afro-Brazilian as well as contemporary dance, the Brazilian martial art form capoeira, and terrific theatricality. But it was with “Agwa” that Kafig created a rapturous, holy artistic experience.