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PostPosted: Mon Jul 18, 2005 11:32 pm 
Colorful Confetti
Piñata, performed by Brian Brooks Moving Company, presented by Summerdance. At Center Stage Theater, Friday, July 8.
Reviewed by Felicia M. Tomasko

At the opening of the evening, a colorful, donkey-shaped piñata stood center stage, alone and illuminated. “A piñata? Oh, of course, the Mexican thing with the candy,” announced Brian Brooks’ voice from the wings. Nicholas Duran then hoisted the piñata and blindfolded Jo-Anne Lee, who promptly smashed the donkey, party-style. Scads of white confetti fell from the ceiling, initiating an explosive array of color and choreography that lasted all night. In subsequent segments the performers scattered other colors—white, orange, green, blue, and finally black—as they strode, leapt, and bounced across the shiny white dance floor. The shimmering, slippery confetti almost became a sixth dancer.

[url=http://www.independent.com/a&e/af973.htm[/url]more click here[/url]


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PostPosted: Mon Jul 18, 2005 11:38 pm 
This year’s Summerdance kicked off with a performance by the innovative and talented New York group Brian Brooks Moving Company. Like last year, when the company delighted audiences with its all-pink Dance-O-Matic, they presented some of the best contemporary dance has to offer: serious art that doesn’t take itself seriously.

Take the premise, for example. The dance is based around, and named after, the concept of a piñata—a colorful, artificial animal full of candy or confetti. It’s a frivolous item, symbolic of parties and celebrations, of children and imagination. And while you could make a case for the piñata as some kind of cultural symbol, perhaps as a way to look at the experience of Latino immigrants in America, Brooks and his company don’t. They leave the weightier issues to artists like Richard Lerman, whose Fences-Borders exhibit is still hanging at Contemporary Arts Forum (CAF), across a courtyard from Center Stage Theater where the dancers performed.

Instead, Piñata is an impressionistic portrait, whimsical and dreamlike. It starts with dancers dressed all in white, each costume a different variation of a cross between a swimming outfit from the turn of the century (bloomers, long knickers, skull caps) and a matador uniform (fluffy epaulettes, bows at the neck); and from the moment in the first scene when a beaten llama piñata releases large white paper squares into the air, the performance is awash in confetti.

more-> http://www.vcreporter.com/art_and_culture.html


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PostPosted: Thu Jul 21, 2005 8:32 am 
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Joined: Mon Sep 09, 2002 11:01 pm
Posts: 945
Location: Maryland USA
Guest, Welcome to CriticalDance and thank you so much for posting these articles. We always like to get more information, especially from such interesting reviews. :)

I invite you to become a member of CriticalDance, and hope you will keep posting not only "official reviews", but your own views and reviews are also very welcome.


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PostPosted: Wed Oct 11, 2006 2:48 am 
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Joined: Sat Aug 23, 2003 11:01 pm
Posts: 6778
Location: Estonia
Quote:
Watch Out!
by DEBORAH JOWITT for the Village Voice
published: October 5, 2006

His take on repetition doesn't ally him with Minimalism, nor is it mechanical. The sequences he choreographs are strenuous, redolent of effort and emotion, and he worries them like a dog with a bone, changing them in small, compelling ways.
more...


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PostPosted: Sat Mar 15, 2008 2:25 pm 
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Location: NYC
http://www.pixelwater.com/SBB/BBMCpress.html

A Link to Four BBMC Reviews from 2001-2002
(Might be repeats from earlier in this thread)


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PostPosted: Sat Mar 15, 2008 2:31 pm 
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Posts: 195
Location: NYC
Quote:
The future of dance is a talking pinata. Go ahead and laugh. Brian Brooks Moving Company, an up-and-coming Brooklyn-based group making its American Dance Festival debut, humbly makes the argument that humor, along with a kindergartenesque approach to the world, is not only justified in 2005, but logical. And shortly after Mr. Pinata, a little papier-mache donkey in a spotlight, opens the show with a comic voiceover about cellphones and the company website, another pinata is lowered from above, to be bashed open by little "girl" with a big stick. Guts get spilled. That’s life....


More (click Here)


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PostPosted: Sat Mar 15, 2008 2:37 pm 
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Posts: 195
Location: NYC
Pics from BBMC's "Dance-o-Matic"


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PostPosted: Sat Mar 15, 2008 2:40 pm 
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Joined: Tue Sep 10, 2002 11:01 pm
Posts: 195
Location: NYC
Quote:
The Brian Brooks Moving Company was founded in 1997 and since then Brian has been making a name for himself in the dance community. Brian and his four other dancers have an unbelievable amount of physical stamina which can be seen in again again. His choreography is dedicated to reiteration and quick rhythmic games.
Brian is known for being able to deepen the most repeated physical investigations in choreography.


More on BBMC's 2005 "Again, Again" HERE(Click)


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PostPosted: Sat Mar 15, 2008 2:45 pm 
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Location: NYC
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Quote:
El Gallo, la Palma, El Pescado. Brian Brooks' astonishing "PIÑATA" plays out as vividly as a round of "Loteria," Mexico's version of Bingo. Nothing is left to chance, though, in this opulent and carefully constructed 70-minute dance. Brooks demonstrates that vital expression is the result of daunting discipline.


More on BBMC 2005 "PIÑATA" at American Dance Fest


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PostPosted: Sat Mar 15, 2008 2:52 pm 
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There’s nothing quite like merging candy and violence to get those choreographic wheels turning. Piñata, Brian Brooks’ new dance for five dancers and a billion bits of paper, draws its inspiration from those weird little tissue animals that birthday kids bash to smithereens in search of second-rate confections. Brooks demonstrates his simultaneous love for clean lines, exotic costumes, and innocent fun....


More on BBMC "Piñata" at ADF HERE (Click)


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PostPosted: Sat Mar 15, 2008 2:56 pm 
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Location: NYC
Link to 5 short movies of BBMC circa 2001-2002 "Faster" and "Dance-O-Matic"


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PostPosted: Sat Mar 15, 2008 3:00 pm 
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Posts: 195
Location: NYC
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Quote:
What grows in spring's green grass
Brian Brooks explores the color green in "Acre" and Julie Atlas Muz rejuvenates "The Rite of Spring" in a shared program at DTW.
By KARINNE KEITHLEY
Offoffoff.com

The new "Acre" continues Brook's minimalist color investigations. Taking a small set of elements, Brooks has made a vocation out of their minutest transformation....


More on BBMC's 2004 "Acre" at DTW HERE (Click) (and Julie Atlas Muz's Rite of Spring)


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PostPosted: Sat Mar 15, 2008 3:04 pm 
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Location: NYC
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Quote:
Rainbow Bright
Choreographer Brian Brooks reveals another of his true colors at this year's 92nd Street Y Harkness Dance Festival in New York City.

The sexy, playful, and gender-free dances of Brian Brooks Moving Company have been enlivening the contemporary dance scene for a decade. “My interest is simple,” says the affable Brooks. “I think of dance as a visual art form -- sculpture with the added elements of time and motion.” Just 33 years old, Brooks will celebrate his company’s 10th anniversary with performances as part of the 92nd Street Y Harkness Dance Festival at the Ailey Citigroup Theater in New York City. The company's festival performances began March 12 and will continue March 13 and 15 at 8 p.m. and March 16 at 2 p.m.


More on BBMC current "Happy Lucky Sun" at Ailey from the Advocate HERE (Click)


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PostPosted: Sat Mar 15, 2008 3:11 pm 
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photo from the Brooklyn Rail of Brian Brooks’ Acre performed in Santa Barbara. Photograph by David Bazemore.

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photo from The Brookly Rail of Brian Brooks' Acre by Michael Brandson


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PostPosted: Sat Mar 15, 2008 3:21 pm 
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Joined: Tue Sep 10, 2002 11:01 pm
Posts: 195
Location: NYC
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Quote:
Planet Brooks
Brian Brooks Moving Company
again again
Dance Theater Workshop
October 7, 2006
By Nancy Wozny

If you are still in the doldrums about Pluto being voted out of the galaxy, have I got a new planet for you. Brian Brooks Moving Company’s performance of again again conjures an otherworldly place through both clever movement choices and mysterious visuals.


More on BBMC' "again again" at DTW HERE (Click)


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