peyton-heitz asked: Makenzi Lauritzen or Mackenzie Auger?

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@danceordie
peyton-heitz asked: Makenzi Lauritzen or Mackenzie Auger?
Performed by: Roy Aati, Jermaine Dean, Falencie Filipo, Akashi Fisiinaua, Jacob Tamata, Darren Taniue, and Jaycee Tanuvasa
Number: “The Voguing Dance Scene in New Zealand”
Style: Voguing
From: VICE Asia (2018)
Aya Sato Workshop
Modern Vogue.
These two are Queens.
Marianela Nunez | Complete trust between her & her partner. She uses her body in such a way that you feel like this is how Ballet is meant to look…Like she is reaching her maximum abilities and squeezing every inch of movement and expression from each step. ❤️
“I come from a favela in Brazil. I am black. I have a poor family. Yet, despite all those odds, I became a ballerina. I had to get by on my own [upon arriving in New York at the age of 19 on a full scholarship to the Dance Theatre of Harlem]. That’s when I grew up and learned to appreciate what my parents taught me. I’m not here [at Dance Theatre of Harlem] because I’m poor. I’m here because of my dancing.” —Ingrid Silva
Viviane Araújo irá representar Maria Padilha no desfile da escola de samba Acadêmicos do Salgueiro!
Brazilian samba.
Natalia Osipova in Swan Lake (Royal Ballet)
Don’t know who to credit this to, but it’s beautiful!
Batsheva Dance Company - Sadeh21
By Ohad Naharin In collaboration with Batsheva Dance Company dancers, 2010/2011 season. Performed by 18 Batsheva - the Young Ensemble dancers.
The piece is dedicated to Noa EshkolNoa Eshkol (1924-2007) Creator of the Eshkol-Wachman Movement Method and Notation
read more: https://batsheva.co.il/en/repertory?open=sadeh21
Review by Jana Perkovic:
“Sadeh” means field: as in field of study, of action. Ohad Naharin’s new choreography for Batsheva is composed of 21 segments, each of which seem to introduce a different way of … well, certainly moving. But also an entire way of being in the world.
Sadeh1 consists only of solos: bendy, rubbery bodies, as if reacting to external forces with elastic feedback. Sadeh3 is marked by a woman walking around the dancers, her whole body contorted in an extremely strange waddle. Sadeh 5 is the most distinctive: a groovy music number begins with female dancers snapping their fingers in unison, soon launching into a rather masculine rendition of club dancing. They are joined by figures in elegant, feathery strapless dresses: the male dancers.
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