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    Review: Getting to the Essence of Camille A. Brown’s Artistry

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    With the high-energy “I AM,” Brown takes her signature interweaving of African diasporic dance forms to new heights.These days, many people know Camille A. Brown from the worlds of theater and opera, where she has become a frequent collaborator on high-profile projects. (She choreographed two hit shows now on Broadway, “Gypsy” and “Hell’s Kitchen.”) But it’s her work with her company, Camille A. Brown & Dancers, that brings us closest to her essence as an artist, showing us who she is, what moves her.That has never been more clearly or piercingly expressed than in her latest dance, “I AM,” which had its New York City premiere at the Joyce Theater on Wednesday. Sweeping the audience into its flow for a joyous 65 minutes, “I AM” is like the exclamation point on the trilogy Brown created from 2012 to 2017 (“Mr. TOL E. RAncE,” “BLACK GIRL: Linguistic Play” and “ink”).A program note describes “I AM” as imagining “a creative space for cultural liberation — conjuring new ways of being in this world.” And liberated it is, pulsing with a sense of freedom and possibility that emanates from its outstanding team of 12 dancers and three musicians (Deah Love Harriott on piano, Juliette Jones on violin and Jaylen Petinaud on drums).Brown went to great lengths to contextualize the works in the trilogy, which delved into different facets of African-American identity, like the painful legacies of minstrelsy and the playful rituals of Black girlhood. The first two chapters came with educational resource guides, and Brown regularly led post-show dialogues as extensions of the work.In “I AM,” she continues her signature interweaving of African diasporic dance forms, but with what seems like a greater, bolder openness to letting dance — in deep conversation with music — speak for itself. After Wednesday’s performance, she shared just a brief word of explanation: “I wanted to do something centered around joy.”From left, Brianna Dawkins, Travon Williams and Courtney Ross in “I AM.”Rachel Papo for The New York TimesWe are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Two Alvin Ailey Productions Head for the Light

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      Hope Boykin’s “Finding Free” and Lar Lubovitch’s “Many Angels” aspire to find higher ground at New York City Center.Dancers moving from being scorned to rocking their souls in the bosom of Abraham — this is the narrative arc of Alvin Ailey’s masterpiece, “Revelations.” And that redemptive passage into the light is the template that many choreographers for Alvin Ailey American Dance Theater try to replicate.Very rarely does such a work escape the shadow of “Revelations” and the gravity of cliché. Ronald K. Brown did it in 1999 with “Grace,” and during the Ailey company’s current season at New York City Center, a 25th anniversary revival of that unfailingly spirit-lifting dance is successfully replacing “Revelations” in the closing spot of several programs. But “Grace” is an exception, whereas Hope Boykin’s “Finding Free” and Lar Lubovitch’s “Many Angels,” the two works that debuted last week, are not.With “Finding Free,” Boykin, a beloved former member of the company, is at least attempting a slightly different approach with an Afrofuturist take. She and Jon Taylor have costumed the cast in long, sleeveless coats with giant lapels and upturned collars that frame their faces and make them look like something between sci-fi courtiers and private eyes. By the end, they have swapped the coats for diaphanous shifts that, like Al Crawford’s cathedral lighting, signify spiritual transformation.That transformation is aided by an original score, courtesy of the jazz pianist Matthew Whitaker, who plays it live in a quintet behind a scrim at the rear of the stage. (Boykin’s last work for the Ailey troupe, her “re-Evolution, Dream” also commendably used a commissioned score by a living jazz musician, Ali Jackson.) In the final section, Whitaker’s organ brings us to church with some funky gospel and “His Eye Is on the Sparrow.”Hope Boykin’s “Finding Free” has the dancers in diaphanous shifts that signal spiritual transformation. Paul KolnikBut the path to get there is awfully murky. The dancers mainly travel in a pack — shuffling, skittering, pivoting, jogging, lining up. One member after another leaves the flock, only to return. When they spin, the tails of their coats fly up, and they spin a lot. They walk portentously into the light. They also collapse, open their mouths in silent screams, crawl as if crossing a desert and writhe in anguish.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      Ex-Dancer Accuses Shen Yun of Forced Labor and Trafficking in Lawsuit

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      The former performer, who was recruited to join Shen Yun at age 13, said the prominent dance group coerced children into making money for it.A former dancer for Shen Yun Performing Arts, the prominent music and dance group operated by the Falun Gong religious movement, filed a lawsuit on Monday, accusing its leaders of trafficking vulnerable children to work for little to no pay.The lawsuit, brought in Federal District Court in Manhattan, describes Shen Yun as a “forced labor enterprise” that has exploited underage dancers through threats and public shaming to generate hundreds of millions of dollars in revenue.Shen Yun instills obedience in its dancers through a wide range of tactics, the lawsuit alleges, including by confiscating their passports, cutting them off from outside media, denouncing them as Chinese government spies if they questioned the group’s practices and subjecting rule-breakers to public critique sessions.The former dancer who filed the lawsuit, Chang Chun-Ko, said she was recruited from Taiwan to join Shen Yun as a dancer at age 13, in 2009. She performed with the group until she left in 2020, when she was 24.Ms. Chang sued under a federal law that allows victims of forced labor to bring lawsuits against their traffickers.The lawsuit comes three months after The New York Times revealed that Shen Yun’s performers had been working in abusive conditions for years. Ms. Chang, now 28, was among the former performers and instructors quoted in the article.The New York State Department of Labor has opened an inquiry into the company’s labor practices, including its use of child performers, The Times reported last week.The lawsuit seeks an unspecified amount in damages. Ms. Chang is the only named plaintiff, but she is seeking to certify the lawsuit as a class action.Shen Yun, which performed more than 800 times on five continents in its most recent tour, puts on a two-hour dance and music show that spreads the message of Falun Gong, a religious movement that is banned in China and has been persecuted by the Chinese government.Representatives of Shen Yun and Falun Gong did not immediately provide a comment on Monday. They have previously denied violating any laws and said labor laws did not apply to their underage performers because they are students who tour with Shen Yun as a learning opportunity, not employees. Every student participates in Shen Yun voluntarily, they have said.“Sure, some people leave because it’s not for them, and that’s perfectly fine,” Shen Yun’s representatives said in a recent statement. “But the vast majority of students will tell you this is their dream come true, and the parents rave about the positive changes in their children.”This is a developing story and will be updated. More

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      ‘The Interview’: K-Pop Trained Rosé to Be ‘a Perfect Girl.’ Now She’s Trying to Be Herself.

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      South Korean pop, known as K-pop, is not just a type of music — it’s a culture, where bold style, perfectly choreographed dance moves and ebullient earworms that draw from pop, hip-hop and traditional Korean music attract a huge and particularly devoted global fan base. The genre’s stars, known as idols, are trained, often for years, by entertainment companies that then place the most promising trainees in groups, write and produce their music and obsessively manage their public images. It’s a system that works for the idols who make it big, but it has also drawn criticism for its grueling methods, which some call exploitative.One of the biggest stars to come out of that system is Rosé. Born Roseanne Park, she trained for four years with one of K-pop’s largest agencies, YG Entertainment, eventually breaking through as part of the girl group Blackpink. Now at age 27, she is striking out on her own with her first full-length solo album, “Rosie,” which comes out on Dec. 6 from Atlantic Records. (The album’s first single, “APT.” a collaboration with Bruno Mars, is a true bop and has made history as the first track by a female K-pop artist to break into the Top 10 on the Billboard Hot 100.) She is still a member of Blackpink, and the group re-signed with YG in 2023. But after years of singing other people’s songs and performing as Rosé, which she described to me as “a character that I really worked hard on as a trainee,” writing her own songs for this solo album has made her think about where she came from and who she is, separate from the system that turned her into a global phenomenon.Listen to the Conversation With RoséThe Blackpink star talks about striking out on her own, away from the system that turned her into a global phenomenon.Subscribe: Apple Podcasts | Spotify | YouTube | Amazon | iHeart | NYT Audio AppYou’re about to release your first full-length solo album. Can you tell me what you’re feeling? Like I’ve been waiting to release this album for my whole life. I grew up listening to a lot of female artists. I used to relate to them, and they used to really get me through a lot of tough times. And so I would always dream of one day having an album myself. But I never really thought it would be realistic. I remember last year when I first began the whole process of it, I doubted myself a lot.It probably would be surprising to anyone who would look at Rosé, with all your success, with the enormous fan base that you have, to know that you doubted yourself so much. I don’t think I ever learned or trained myself to be vulnerable and open and honest. So that was the part I feared, because it was the opposite of what I was trained to do.You were born in New Zealand to South Korean immigrant parents and then you moved to Australia when you were 8. In 2012, when you were 15, you auditioned for a slot in YG Entertainment’s trainee program, which is basically a boarding school for becoming a K-pop star. It was your dad’s idea, right? Yes. More

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      Rebuilding After Fire, Jacob’s Pillow Will Open a New Theater

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      The Doris Duke Theater, more than twice as large as the original and designed for modern technology, will open in July.When the Doris Duke Theater at Jacob’s Pillow, the bucolic dance festival in Becket, Mass., was destroyed by a fire four years ago, the festival’s director, Pamela Tatge, promised that it would be rebuilt.“The theater,” she said at the time, “is an essential component of the ecology of Jacob’s Pillow.”On Wednesday, Jacob’s Pillow announced that its new Doris Duke Theater would reopen on July 9, as part of its coming season. And the initial wave of programming there has been conceived specifically with the space in mind.“We all struggled when we lost the Doris Duke,” Tatge said in an interview. “But we had this moment to think of what we will build and why, and what sort of building we need in the future.”The campus of Jacob’s Pillow has other performances spaces: the large Ted Shawn Theater, and the outdoor Henry J. Leir Stage. The old Doris Duke opened in 1990, with 230 seats and the look of a sleek barn.A $10 million gift from the Doris Duke Charitable Foundation, insurance claims and other gifts paid for the costs of the new theater. Jacob’s Pillow, Tatge said, wanted its new building to be a flexible space with “the ability to support the future of where this field is going.” The organization hired the Dutch architecture firm Mecanoo, and brought on the Choctaw and Cherokee artist Jeffrey Gibson as a consultant, to design a theater, Tatge added, “that was in dialogue with nature.”The result is a building nearly twice the size of the original theater, with a range of 220-400 seats and the ability to also house residencies and other events, perhaps at the same time. It will be equipped with a spatial audio system and specialized cameras for livestreaming and interactive video performances.Tatge said that next summer’s lineup of artists at the Doris Duke Theater was based on “works that could magnify and amplify the flexibility of the space, as well as works that demonstrate the intersection of dance and technology.”The programming includes the world premiere of Andrew Schneider’s “Here,” Shamel Pitts’s “Touch of Red” and Eun-Me Ahn’s “Dragons.” The Taiwanese choreographer and roboticist Huang Yi will make her Pillow debut, as will the Indigenous Sámi choreographer Elle Sofe. Faye Driscoll will return to the festival with her work “Weathering,” from last year, and Schneider and Pitts will create digital-first pieces.In the future, Tatge said, Jacob’s Pillow hopes to commission works that incorporate augmented reality, technology similar to video conferencing and other forms of mixed reality. And they can be developed year-round in the new building.“It will be a maker space,” Tatge said of the Doris Duke Theater. “At a time where there is a crisis of ambition in our country because a lack of resources, the fact that we’re going to be able to support artists — that is something.” More

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      Vladimir Shklyarov, Star Russian Ballet Dancer, Dies at 39

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      The Mariinsky Theater in St. Petersburg, which announced the death, did not say how or where he died.Vladimir Shklyarov, one of the world’s premier male ballet dancers, died on Saturday night, according to the Mariinsky Theater in St. Petersburg, where he was a principal dancer.The theater did not say in its announcement how or where Mr. Shklyarov, 39, died.Russia’s Investigative Committee, a federal law enforcement agency, began an investigation into Mr. Shklyarov’s death, according to RIA Novosti, a state-run news agency. “A preliminary cause of death was an accident,” RIA Novosti quoted the Investigative Committee’s office in St. Petersburg as saying.Over a two-decade career, Mr. Shklyarov gained international acclaim, performing at the Metropolitan Opera in New York, the Royal Opera House in London and other prestigious theaters around the world.Born in Leningrad, Mr. Shkylarov graduated in 2003 from the Vaganova Ballet Academy, a famed institution with nearly 300 years of history. Its graduates include Natalia Makarova and Mikhail Baryshnikov.Mr. Shklyarov joined the Mariinsky directly out of school, and went on to perform in both contemporary and classical productions, including “Swan Lake,” “Don Quixote” and “Giselle.” He received multiple awards for his work, including the prestigious Léonide Massine International Prize in 2008. But the Mariinsky said that “the most precious for Vladimir” was receiving the title of an honored artist of Russia in 2020.Information about survivors was not immediately available. In 2012, Mr. Shklyarov married another dancer, Maria Shirinkina, who also performed with the Mariinsky, according to Russian news media.In a review of a performance during the company’s 2016 tour of the United States, a New York Times critic said, “The best moment came from Maria Shirinkina, supernaturally airborne, and Mr. Shklyarov, elegant and mournful, in a cobbled together extract from ‘Giselle.’ For a little while, they suggested another world.”A former ballerina, Irina Bartnovskaya, wrote on Telegram that Mr. Shklyarov had been at home, on painkillers and preparing for foot surgery before his death. She said that he went out to smoke onto “a very narrow balcony” and fell five stories in “a stupid, unbearable accident.”Her account could not be verified, but it echoed similar reports in Russian news outlets, including Fontanka, which quoted a Mariinsky Theater spokeswoman, Anna Kasatkina, as saying that he was on painkillers and expected to have surgery. More

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      Judith Jamison, Alvin Ailey Dancer of ‘Power and Radiance,’ Dies at 81

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      Judith Jamison, a majestic dancer who became an international star as a member of Alvin Ailey American Dance Theater and who directed the troupe for more than two decades, building it into the most successful modern dance company in the country, died on Saturday in Manhattan. She was 81.Her death, at NewYork-Presbyterian Weill Cornell Medical Center, was announced by Christopher Zunner, a spokesman for the Ailey company, who said she died “after a brief illness.”Ms. Jamison performed Alvin Ailey’s “Cry” at New York City Center in 1975. “Cry,” an immediate hit, made her a star.Jack Vartoogian/Archive Photos, via Getty ImagesAt 5-foot-10, Ms. Jamison was unusually tall for a woman in her profession. “But anyone who’s seen her onstage is convinced she’s six feet five,” the critic Deborah Jowitt wrote in The New York Times in 1976.“I was the antithesis of the small-boned, demure dancer with a classically feminine shape.” Ms. Jamison (pronounced JAM-ih-son) wrote in her 1993 autobiography, “Dancing Spirit.”It wasn’t just her size and shape that were distinctive, however. She was a performer of great intelligence, warmth and wit.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      After Turmoil, Royal Danish Ballet Taps Veteran Dancer as Leader

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      Amy Watson will helm the storied company as it grapples with the sudden departure of its previous artistic director and accusations of abuse at its school.For months, the Royal Danish Ballet, one of the world’s premier dance troupes, has been in turmoil. Accusations of abuse have shaken its 253-year-old school. Then, last week, the company said its star artistic director, Nikolaj Hübbe, was abruptly resigning after 16 years.Now the Royal Danish Ballet hopes to turn the page on those troubles. The company announced on Thursday that Amy Watson, a California-born dancer who joined the troupe in 2000, would serve as its next artistic director.“This theater gave me a second homeland and a wonderful career that I could have never dreamed of,” said Watson, 43. “I want to serve in the highest capacity for the theater and to give back.”Watson, whose tenure begins on Friday, succeeds Hübbe, 57, a Copenhagen native who has been a fixture at the troupe for years. He started training at its school when he was 10 and was a principal dancer by age 20. He later was an acclaimed principal dancer at New York City Ballet for 16 years.Since 2008, Hübbe has run the company, famous for its rich choreographic legacy rooted in the repertory of the 19th-century Danish master August Bournonville. Hübbe oversaw new productions of classics like “Swan Lake” and “Giselle,” and expanded the company’s range, bringing in works by living choreographers, including Christopher Wheeldon, Alexei Ratmansky, Yuri Possokhov and Wayne McGregor. He also worked to attract new audiences with more casual and intimate offerings.During his tenure, the company faced difficulties, including budget cuts, union fights and allegations of drug abuse in the company. Last year, the organization began an inquiry into conditions at its school amid reports that children had experienced psychological and physical abuse. Some former students said they had developed eating disorders after being told at a young age that they were too heavy to dance.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More

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      South Korea’s Modern Dance Scene is Thriving

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      Thanks to government support — and a collaborative spirit among dance companies — the medium is thriving across the country.While the high-octane choreography in K-pop videos has helped define South Korea’s image globally, in the country itself, it’s modern dance that’s in the spotlight. It is a huge part of the country’s arts scene, quietly flourishing and influencing new generations of dancers and choreographers.Its popularity and reach are evident throughout the country, especially among the dozens of companies, in Seoul and other cities, that share dancers, choreographers and designers. And several of those companies are making a name for themselves internationally, performing abroad and inviting major names to choreograph in South Korea.This year’s Seoul International Dance Festival in September was a testament to the country’s dominance in the medium, with companies from Canada, Australia, Europe and, of course, Korea performing over two weeks. And several performances coming up later this fall display the country’s growing visibility on the global dance stage.Some dancers from the Korean National Contemporary Dance Company, which bills itself as the only government-funded national contemporary dance company in Asia, are to perform “Shut Up Womb” (Nov. 15-17), a revival of the 2021 dance by the Japanese choreographer Shimojima Reisa, at the Seoul Arts Center right around the same time some of the company’s other dancers are to perform “Jungle” in Abu Dhabi, United Arab Emirates, Nov. 16-20, as part of a program celebrating South Korean culture.“Jungle” debuted in October 2023 in Seoul, and then traveled to Austria, France, Italy and Kazakhstan this summer. It will return to South Korea in November 2025 in a program that will also include “One Flat Thing, reproduced,” a dance by the celebrated American choreographer William Forsythe.For Kim Sungyong, the new artistic director of the company, this international touring speaks to the success of dance in his home country, and to the access to a variety of well-trained dancers.We are having trouble retrieving the article content.Please enable JavaScript in your browser settings.Thank you for your patience while we verify access. If you are in Reader mode please exit and log into your Times account, or subscribe for all of The Times.Thank you for your patience while we verify access.Already a subscriber? Log in.Want all of The Times? Subscribe. More