Peck’s Heatscape video promo doesn’t express bohemian culture as much as it reveals the corporatization of culture, marketed to young people in spaces owned by real estate titans. Let’s hope Peck’s actual ballet doesn’t fumble so drastically into contested urban spaces, where art and big business are meeting. Let’s hope Heatscape is just a hot dance.
Read the rest of this article »Like many choreographers who have persevered, Stoner has bore witness to many dance movements: the high drama of Martha Graham, the abstract formalism of Alwin Nikolais, the anti-virtuosity of Yvonne Rainer, the minimalism of Lucinda Childs, the fusion dancing of Twyla Tharp, and the formalism of Balanchine and Cunningham. Stoner’s work incorporates aspects of each of these 20th century U.S. dance movements, but she isn’t a direct descendent of any them. Perhaps it’s because her work never entered the mainstream dance world. There is something to be said for being on the outside of the concert dance machine, which grinds many a choreographer up. In “Distant Past, Ancient Memories,” Stoner seems to be dancing through part of her history, with the wisdom of one who has made many dances, and with a need to choreograph with a broader brush.
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