Most Active Stories
- Black While Policing: A Miami Officer Shares His Experience
- How To Deal With Florida's Growing Panther Population
- South Florida Author Examines Miami Race Relations And The "Yiddish N-Word"
- Why It's Time For A Reality Check On Normalizing Relations With Cuba
- Examining The Welfare And Habitats Of Florida's Wildlife
Wed April 24, 2013
Daniel Lewis Miami Dance Sampler Covers The World Of Dance, In Eight Minutes Or Less
The Daniel Lewis Miami Dance Sampler was a mixed bag of performances that introduced audiences to contemporary dance, ballet, new flamenco and traditional African dance forms. The performances, billed as six- to eight-minute samplers, highlighted the scope of dance talent that exists in Miami. Produced by Dance NOW! Miami and Miami Dance Futures, the goal of the sampler is to give local talent exposure and to expose audiences to dance forms that they wouldn’t normally seek out.
The most coherent, well-choreographed performance of the evening came from the Stephanie Fuentes of the New World Dance Ensemble. The concept for the performance centered on the idea of gender-equality and cunningly communicated this message through the physique of the dancers, their balanced movements and “de-genderfying” costumes. The costumes, minimalist and all black, consisted of a black strip of fabric that hid any notion of breasts and chest and a flowing black skirt/pant-like bottom that was neither masculine nor feminine. The choreography amplified what it means to move as a being across space, not what it means to be a man or woman moving their body through space.
Reposted: This item originally appeared on the Knight Blog
Niura Marquez/Nu Flamenco Collaborative’s “La Nina de mis Ojos” brought together two elements—live, original music composed by Jose Luis Rodriguez and the experimental flamenco of Niurca Marquez. Marquez, wearing all red, expressed the passion and confidence inherent in Flamenco through a new lens that deconstructs and reinterprets traditional Flamenco movements while retaining its fiery essence. Rodriguez, whose ephemeral yet lush guitar composition enters your skin first and then the ears, gave the performance a sense of balance and stability as Marquez’s lustful footsteps challenged the music, and the audience, to keep up.
Haiti Three Years Later: Part II