“One of the strongest and most original talents to emerge from Miami” (Miami Herald), Rosie Herrera is a Cuban-American choreographer known for her whimsical and poignant dance theater works. In Carne Viva, Herrera turns her attention toward religion to explore how early encounters of spiritual belief systems inform how we experience romantic love later. Through vignettes inflected with characteristic humor and sadness, Carne Viva deconstructs what it means to believe in magic, and what it means to be in love.
Hailing from Philadelphia, Rennie Harris is “the most respected—and, to my knowledge, the most brilliant—hip hop choreographer in America” (The New Yorker). His award-winning company, Rennie Harris Puremovement, brings its powerful, athletic, and deftly constructed dances to The Joyce. In Nuttin’ But a Word, a suite of short works created by Harris, a cast of masterful performers versed in a myriad of street dance forms push locking, house, hip hop, and b-boying to the brink, challenging the notion that the preservation of hip hop and its evolution are mutually exclusive.
The American Dance Platform showcases some of the most captivating American companies performing today. Created as a way to celebrate and promote companies from across the United States, each platform is programmed by a different curator appointed by The Joyce. This year’s offerings have been selected by Christy Bolingbroke, founding executive/artistic director at the National Center for Choreography at the University of Akron. The program will include performances by Rennie Harris Puremovement, Urban Bush Women, Limón Dance Company, Bruce Wood Dance, Embodiment Project, Rosie Herrera Dance Theater, Dayton Contemporary Dance Company, and ODC/Dance.
Major support for The Joyce’s presentation of the American Dance Platform was provided by The Harkness Foundation for Dance. Additional support provided by a grant award from the National Endowment for the Arts.
Approximately 1 hour and 35 minutes with one intermission. Late seating will be at the discretion of house management and latecomers are not guaranteed they will be seated in their purchased seats.