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IMPRESSIONS: Kei Takei’s Moving Earth Orient Sphere at Lumberyard in the City Winter Festival

January 30, 2018

 

Sometimes a legend comes to the city after a 17-year absence. Sometimes, I get to go see said legend. Sometimes, I get inspired trying to figure out how I, too, can grow old that legend where friskiness and freshness never fade. 

 

TWO MINUTES TO READ

 

PREVIEW AND LINK FOLLOW AFTER PICTURE

 

 

 Kei Takei in LIGHT, Part 8 at New York Live Arts. Photo by Kate Enman. 

 

It was before Watergate, AIDS, and 9/11 when Kei Takei showed the first part of her epic dance series, LIGHT, in 1969. A movement poet influenced by Noh theatre — which features slow pacing, the act and the speed of it — she has added standalone stanzas to LIGHT for almost fifty years.  

 

Now, the world both different (#MeToo, @realDonaldTrump) and the same (despite decades of handwringing, concert dance is still kicking), she returns to New York after a 17-year hiatus with two works as part of Lumberyard in the City Winter Festival at New York Live Arts. The first, LIGHT, Part 44 (Bamboo Forest) from 2016, receives its U.S. premiere while the second, is a solo from LIGHT, Part 8 (1974).

 

Although she was born and currently lives in Japan, it’s a homecoming of sorts for Takei. She attended Juilliard in the ‘60s and debuted the first ten sections of LIGHT here. Her biography indicates that she’s likely a few years on one side or the other of 70, but she dances — in both pieces! — like a . . .

 

TO READ THE BALANCE OF MY REVIEW, PLEASE VISIT THE DANCE ENTHUSIAST.

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