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:
From Mozart to milonga, Sizzling frost, High stepping, More 
- From Mozart to milonga
We Bostonians may swathe ourselves in sweaters and lock our doors against the blustery weather, but once the music begins, dance performances can help us shake off the shivers — and often transport us to more temperate climes.
- Sizzling frost
The winter dance season starts out promoting international coexistence.
- High stepping
The heavy-hitter repertory shows this season come from ALVIN AILEY and GEORGE BALANCHINE . But why not welcome spring by taking a chance on fresh experiences as well?
- 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.
- What's left behind
Tap Olé is less a new-fangled bicultural fusion than a return to tap dancing’s foundational swingtime.
- 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.
- 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.
- Extremities
Postmodern dance's conceptual, physical, and metaphysical roots spread far and wide, as four summer festival performances attested last week.
- Grief work
From dance to dance, they shared a movement vocabulary that suggested pain, struggle, solace, and submission to unseen but unbreakable constraints.
- 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.
- Less
Topics:
Dance
, Entertainment, Music, Kelley Donovan, More
, Entertainment, Music, Kelley Donovan, Regional Music, World Music, Jody Weber, Harvard Dance Center, Tommy Neblett, Gregory Hines, Radcliffe Institute for Advanced Study, Less
