Pontus Lidberg talks about working with Wendy Whelan, on the inevitable comparisons to fellow Swedish choreographer Mats Ek, and framing what the audience sees in making dance for film.
KT Niehoff explains why the west coast is the frontier of dance, and why she’s split about using dancers and/or actors in her work.
Ron K. Brown talks about his dance amalgam and how he helped make Porgy and Bess a hit.
Not your usual downtown choreographer, Susan Rethorst has a unique voice. In her own words, regarding dancemaking, “”There’s no because.”
Jessica Lang talks about her company’s upcoming debut at Jacob’s Pillow and how creating a dance is like serving a meal.
Eduardo Vilaro talk about his first piece for Ballet Hispanico and Celia Cruz.
Brian Reeder talks about his own dancemaking process and working with Robbins.
Heidi Latsky talks about our perceptions of non-perfect bodies and what she learned from Bill T. Jones and Arnie Zane.
Alex Ketley, director of SF-based company The Foundry, explains why failure is a good thing, and why he teaches a class called “Hot Mess.”
Lar Lubovitch explains his need for “excellent dancers” and if his work has no transitions—or is all transitions.