The pre-professional BOSTON CONSERVATORY students try their hand at the improv-inspired work of OLIVIER BESSON plus new works by GIANNI DI MARCO and TOMMY NEBLETT at the Boston Conservatory Theater on Hemenway Street (November 15-18; 617.912.9222). World Music brings the spectacular Chinese martial-arts SHAOLIN WARRIORS to the Orpheum Theatre (November 17; 617.876.4275).
The ICA has partnered with tastemaker Alissa Cardone of Kinodance and Critical Moves Contemporary Dance to bring Faker, an exploration of authenticity in the age of celebrity choreographed by MORGAN THORSON, to the museum (November 29-30; 617.478.3103). Cardone has mentored a group of emerging choreographers at Green Street whose work will be presented during the month of November (617.864.3191; schedule TBA).
The PAUL TAYLOR DANCE COMPANY breezes into the Shubert Theatre with a program selected from more than 50 years of glorious and wry craftsmanship (November 30–December 2; 617.482.6661). Just under the wire for our purposes there are three significant non-Nutcracker programs in early December. Springstep’s “Ragas, Rhythms, & Grooves” is a fusion program of classical Indian dance and modern forms by dancer GRETCHEN HAYDEN at the Springstep facility, 98 George P. Hassett Drive in Medford (December 1; 781.395.0402). The HARVARD CONTEMPORARY DANCE ENSEMBLE includes a rare guest appearance by Radcliffe Institute fellow CHRISTINE DAKIN, former principal dancer/artistic director laureate of the Martha Graham Dance Company, at the Harvard Dance Center (December 7-8; 617.495.8683). And BRIDGMAN/PACKER DANCE moves up from the intimate space of Green Street Studios to the glam environs of the ICA on the waterfront to present “Trilogy,” where bodies dissolve into video and back again. Comprising Under the Skin and the Boston premieres of Memory Bank and Seductive Reasoning, “Trilogy” is accompanied live by saxophonist Ken Field and inimitable frame-drum master Glen Velez (December 7-8; 617.876.4275).
Related:
Sizzling frost, Extremities, Terpsichore's delight, More 
- Sizzling frost
The winter dance season starts out promoting international coexistence.
- Extremities
Postmodern dance's conceptual, physical, and metaphysical roots spread far and wide, as four summer festival performances attested last week.
- Terpsichore's delight
There's no end to variety to the fall's dance season, from a Boston Ballet classic to Hawaiian hula and "extreme action" acrobatics.
- Winged feet
Dance highlights from the fall season.
- Pillow talking
Last summer, Los Angeles Times dance critic Lewis Segal suggested that ballet is dying an ugly, boring death.
- What's left behind
Tap Olé is less a new-fangled bicultural fusion than a return to tap dancing’s foundational swingtime.
- Ebb and flow
The good news is that we still have our own major company, Boston Ballet, and it made its first international tour — to Spain — in more than a decade.
- Conflict and convergence
Bill T. Jones/Arnie Zane Company’s Another Evening: Serenade/The Proposition is an elegant layering of dance, design, music, and words.
- Fusion forms
Modern dancers who aren’t tethered to a specific technique can forage the whole world for useful movement and effects. We saw three completely different examples recently.
- Bad-boy cool
“People look at an oil painting and admire the use of brushstrokes to convey meaning. People look at a graffiti painting and admire the use of a drainpipe to gain access.”
- Seal of approval
Photographer Philip-Lorca diCorcia is a safe, easy choice for the new ICA’s first big artist retrospective.
- Less
Topics:
Dance
, Entertainment, Music, Boston Conservatory, More
, Entertainment, Music, Boston Conservatory, Robert Pinsky, Massachusetts Institute of Technology, Alissa Cardone, Kinodance Company, Dance, Institute of Contemporary Art, Tsai Performance Center, Less
