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American Ballet Theatre -- Mixed Repertory, including 'The Green Table'
By Cecly Placenti -- October 25 and 30 (matinee) , 2005, City Center, New York City
Closing that evening was Kurt Jooss’ “The Green Table.” A classic anti-war statement, as sadly necessary and poignant today as it was at its premiere in 1932, it delivers quite a punch in a very simple way. The piece depicts various facets of war, beginning with a conference of leaders making decisions, going through mobilization, combat, war profiteering, and all the time Death is present.

Dakshina/Daniel Phoenix Singh Dance Company - 'Dreams'
By Cheryl Adams -- May 10, 2009, Dance Place, London
For the concert’s finale, the company presented one of Anna Sokolow’s seminal works, “Dreams.” “Dreams” was created as a “visual expression of Ms. Sokolow’s outrage at the Holocaust.”

War and Dance -- 'Three Atmospheric Studies,' a work by the Forsythe Company
By Stuart Sweeney -- October 11, 2006, Sadler's Wells, London
Conventionally, we often associate the arts with themes such as form, beauty and love. However, we shouldn’t forget the vital tradition of art works addressing social and political issues. Indeed, it is arguable that Goya’s horrific depiction of the 19th Century Spanish Peninsula War in “Desastres de la Guerre” and Isaac Babel’s chilling short stories about the Russian-Polish War of 1920 are the most honest and revealing accounts of these conflicts available to us.

Dance Theatre Workshop's 'Emerging Artists' Series, including 'Matchstick'
By Cecly Placenti -- July 15, 2008, Dance Theatre Workshop, New York City
Ms. Brown’s “Matchstick” also explores change and transition. It is a story of struggle and survival set in the year 1915 – 50 years after the Civil War and 50 years before the Civil Rights Movement.

360º Dance Company - 'The Devil in Massachusetts'
By Elizabeth McPherson -- May 9, 2009, The Ailey Studios, New York
The final piece on the program was a reconstruction of Mary Anthony’s “The Devil in Massachusetts.” I use the word reconstruction because the dance, first choreographed in 1952, had not been performed since the 1950s.

University of Washington Chamber Dance Company -- Classics for Now of Modern Dance, including 'There is a Time'
By Dean Speer -- February 2, 2006, Meany Hall Theatre, Seattle, Washington
The post-interval portion of the program was given over to Limón’s weighty, but not lugubrious “There is a Time,” which springs from the platform of Ecclesiastes 3.

Chicken Shed Theatre Company - 'Globaleyes'
By Stuart Sweeney -- April 20, 2005, The Rayne Theatre, London
...Chicken Shed’s “Globaleyes” is doubly fraught - an integrated company taking globalisation, the environment and human rights as the foci for a theatrical presentation. The good news is that the risk has paid off and this revival of the production first seen in 2002 is a great success.

Compañia Nacional de Danza -- 'Rassemblement'
By Becca Hirschman -- February 20, 2008, Yerba Buena Center for the Arts Theater, San Francisco
With sweeping backdrops by Walter Nobbe, Duato's softer, more introspective “Rassemblement” explores slavery and resistance through Toto Bissainthe's Haitian music and song, but it didn't have the same force that the other two did.

Venice Biennale 'Degree Zero' -- International Colloquium of Contemporary Dance
By Rosella Simonari -- June 26-27, 2009, Auditorium Santa Margherita, Venice
Newson spoke of his anger towards religious intolerance which has, in part, inspired his current work, “To Be Straight With You”. He is against movement for the sake of movement.

Bill T. Jones/Arnie Zane Dance Company -- 'Chapel/Chapter'
By Carmel Morgan -- March 22, 2008, George Mason University Center for the Arts, Fairfax, Virginia
On March 22, 2008, at the George Mason Center for the Arts in the DC suburb of Fairfax, Virginia, the Bill T. Jones/Arnie Zane Dance Company presented “Chapel/Chapter,” an innocence-shattering work that premiered in December 2006. “Chapel/Chapter” was specifically created for the Harlem Stage at The Gatehouse in New York City, but a year later the work was adapted for the proscenium stage. If dances were rated by the Motion Picture Association of America, this piece would be rated “R” for intense violence. It’s a dark work, definitely not suitable for children. In fact, children figure prominently as victims.

CityDance Ensemble -- 'War'
By Carmel Morgan -- October 18, 2008, The John F. Kennedy Center for the Performing Arts, Terrace Theater, Washington, DC
Of the remaining pieces, Austin McCormick’s “War” stood out. McCormick is heavily influenced by Baroque dance, and “War” definitely had an air of drama to it, especially because it included a monologue by actor James Denvil, reciting text from “Agamemnon 2.0” by Charles Mee.

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Christopher Bruce's

Dance and Human Rights: An interview with Christopher Bruce
by Stuart Sweeney -- July 1999
For the past two years, Amnesty International UK and Rambert have worked together on publicity and the preparation of schools material for 'Swansong,' an outstanding piece of dance-drama based on the interrogation of a prisoner by two guards.

Concert for Amnesty International -- Townley Grammar School for Girls
By Stuart Sweeney -- July 16, 2005, Methodist Church of Orpington, Orpington, England
School concerts can be hard work, but Townley specialises in the field of visual and performing arts and these young performers provided a high standard of drama, dance and music to a delighted audience on this fund raising evening.

Interview with Yannick Boquin
by Toba Singer -- May 2008
"Two weeks before the premiere, I went to see Christopher to tell him that I was ready to give up, that I didn’t feel up to the expectations of such a ballet, that I didn’t want to ruin his work, and that I would be sad but relieved if I could be taken out of the cast. Two weeks later, I was dancing the premiere and it was one of the few performances of my career where I had complete satisfaction in every aspect. After the show, back in my dressing room, I collapsed in tears!"

Paul Taylor's
'Company B'

San Francisco Ballet
by Mary Ellen Hunt -- February 8 and 9, 2005 - War Memorial Opera House, San Francisco

The night finished out with Paul Taylor’s bit of World War II, bobby-soxer nostalgia, “Company B,” danced to songs sung by the Andrews Sisters. The company looks most relaxed with this revival, although the edginess of the humor eluded them that evening.

San Francisco Ballet
by Toba Singer -- February 11, 2005, War Memorial Opera House, San Francisco

Pennsylvania Ballet
by Lewis Whittington -- March 26-30, 2003, Merriam Theater, Philadelphia, PA

Paul Taylor made "Company B" in 1991 and it was an instant classic for his company and a sure fire hit for many others including PAB.
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in our forums

Dance Art and War
Yes, I agree Salzberg. 'The Green Table' surely must be a masterpiece of this genre. From the grim, ugly masked 'war mongers' negotiating the future of the world around a green table (hence the title), the pathetic mother and sweetheart grieveing over the death of their loved one, the heroic, macho soldiers marching off to war, and most chillingly the ominous, terrifying figure of Death claiming his victims one at a time, all combine to create a universal, and yet timely comment on the pursuit of war."

Dance and Human Rights
Another valuable collaboration has been made with the choreographer and former dancer, Darshan Singh Bhuller whose 'Planted Seeds' is based on the theme of human rights abuses in the Bosnian conflict. This full length work is darker in mood than the two Christopher Bruce pieces and a 30 minute section, showing the anguish of women held prisoner and abused for a month in a gymnasium, is one of the most extraordinary pieces of dance drama seen on the UK stage. When it was performed in a nearly full Queen Elizabeth Hall in London last year, you could have heard a pin drop as the lights dimmed on this scene."


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