GIA KOURLAS If this year has shown me anything, it's that I am pulled toward dance that is raw and cathartic, brave and complex. There might be beauty, but that's not the draw even with a dancer as astonishing as Mira Nadon of New York City Ballet. Her willingness to go for it is what matters, her fearlessness. As is the depth of feeling of Chloe Misseldine of American Ballet Theater.
Dance is made up of bodies; bodies are people. It is a reflection of the world, and while the world is increasingly dark, dance is a place to find authenticity. You can rest, but you can't quit. In the words of Tharp, You dig in, you dig down, you settle in and you don't stop.
Lemon, a choreographer and visual artist, gathered a stellar cast of collaborators (including the electrifying Mariama Noguera-Devers) to create a work, set to a pulsating score by Kevin Beasley, that is blessedly cathartic in its chaos.
Ratmansky presented a searing dance dedicated to the children of Ukraine, victims of the war. Set to Mahler and inspired by a photograph of a father kneeling next to the body of his 13-year-old son, Ratmansky distilled grief into a dance that transcends mere movement.
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