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PostPosted: Fri Jun 10, 2005 7:50 am 
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From Theodore Bale in the Boston Herald:

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Images of war inform choreographers’ works
When 27-year-old Jill Jackson studied choreography at Roger Williams University, her professor said once, “If the step has a name, throw it away.”
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Along with her peers Andrea Blesso and Annie Kloppenberg (both 26), Jackson performs in a program aptly titled “Between the Lines” tonight and tomorrow night at Green Street Studios in Cambridge. While each choreographer has her own unique style, the common denominator among the three is using personal narratives from the dancers as a starting point. The results, according to Kloppenberg, are vastly different.

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PostPosted: Tue Jun 21, 2005 6:36 am 
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From Thea Singer in the Boston Globe:
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‘Unsettled’ is daft, though not always deft
“Unsettled States: Dance Under Democracy” conjures up the kind of goofy, pointed political theater you might get if you combined “Saturday Night Live” with Les Ballets Trockadero de Monte Carlo, the famous all-male parodic ballet company. In performance at Green Street Studios last weekend, the sensibility was there, even if the result didn’t quite measure up.

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PostPosted: Fri Jun 24, 2005 9:14 am 
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In the Boston Herald Theodore Bale writes about something different at the Green Street Studios:
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You can stomach ‘Circles and Cycles’
Is belly-dancing good for you?
The women of the Cambridge-based ensemble The Goddess Dancing think so.
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The trio present its newest choreography, “Circles and Cycles,” tomorrow night at Green Street Studios in Cambridge.

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PostPosted: Fri Nov 18, 2005 8:07 am 
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From Theodore Bale in the Boston Herald:
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Dance Complex faculty step out
The annual faculty concert at the Dance Complex in Cambridge always offers a glimpse of where things are at in the local dance community. If there’s one common denominator among the works on this year’s 14th anniversary program, playing tomorrow and Sunday, it’s the seriousness of their intent.

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PostPosted: Sun Nov 20, 2005 9:24 am 
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From Theodore Bale in the Boston Herald:
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Dance Complex marks anniversary
What a satisfying experience it is to come away from a dance performance knowing that you’ve been exposed to great thinking. Last night at Dance Complex six faculty members showed new or recent works that demonstrate why this organization is clearly the leader of the local contemporary dance scene.

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PostPosted: Thu Nov 24, 2005 8:04 am 
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From Marcia Siegel in the Boston Phoenix:
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Complexities
‘Anniversadance/Danciversary’

The Dance Complex applied alternate made-up names, “Anniversadance/Danciversary,” to its 14th-birthday concerts last weekend at the studio in Central Square. The event too was a composite of ideas from several members of the Complex teaching roster. The six chamber-size works ranged in style from mini ballets to physical encounters, and in tone from the theatrical to the intimate, even private.

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PostPosted: Fri Dec 09, 2005 10:57 am 
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From Scott Sutherland in the Boston Globe:
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For this dancer, 10 minutes is a lifetime
Ruth Bronwen’s cathartic work to be featured in ‘Ten’s the Limit’

Ruth Bronwen isn’t exactly a household name in local modern dance circles. After this weekend, she hopes that might change.

Bronwen is one of eight acts performing tonight and tomorrow in CRASHarts’ “Ten’s the Limit,” a modern-dance revue at Green Street Studios in Cambridge. The fifth annual event, which is becoming an anything-goes highlight on the local dance calendar, features a wide range of performers who must limit their works to no more than 10 minutes each.

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PostPosted: Sat Dec 10, 2005 9:19 am 
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From Theodore Bale in the Boston Herald:
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Three choreographers shine in CRASHarts’ ‘Ten’s the Limit’
The premise for “Ten’s the Limit” is simple. CRASHarts invites an out-of-town choreographer to choose and mentor eight Boston choreographers who get their 10-minute dances presented in a concise group show.
Last night at Green Street Studios in Cambridge, the results formed a predictable mixed bag, as in previous years. In the end it was tricky to determine what curator Sean Curran was looking for when he put artists of such vastly different capabilities and interests on the same bill.

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PostPosted: Mon Dec 12, 2005 7:59 am 
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From Thea Singer in the Boston Globe:
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Time, movement are of essence in ‘Limit’
Time is a relative thing -- and not just in the Einsteinian sense. The same amount of it can be gone in a blink or stretch on forever, depending on what’s inside its borders.

The phenomenon hit you between the eyes Saturday night at CRASHarts’ fifth annual “Ten’s the Limit” concert, a showcase of new dances or works-in-progress by eight Boston-based artists. The choreographers had free rein save for one stipulation: Their dances couldn’t exceed 10 minutes in length.
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PostPosted: Sat Apr 15, 2006 10:23 am 
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From Theodore Bale in the Boston Herald:
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Cryptic ‘Moves’ stumbles - but with style
....
[Zack] Fuller’s “Stations” was one of six innovative dances chosen by curator Alissa Cardone for a new series called “Critical Moves.” The works she chose defy indifference, and the series represents an insightful development in local dance.

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PostPosted: Mon May 15, 2006 7:54 am 
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From Sally Cragin in the Boston Globe:
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Choreographers keep the focus on humor, with mixed results

There were laughs and memorable tableaux at “Dance Straight Up!,” the world premieres by area choreographers Debra Bluth and Lorraine Chapman commissioned by CRASHarts. But style triumphed over substance and motion over emotion.

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PostPosted: Thu May 18, 2006 8:06 am 
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From Marcia Siegel in the Boston Phoenix:
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Truth and beauty
....
You can’t really depend on the instructive power of a title. CrashArts’ “Dance Straight Up!” series at Zero Arrow Theatre offered two new dances by local choreographers Friday night. Debra Bluth’s Beauty, Danger, Life (and it all pleased her), which was inspired by an invisible anecdote, and Lorraine Chapman’s the solemn moment, a parody on dancing, were a long way from high metaphysics.

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PostPosted: Mon Jun 05, 2006 5:46 am 
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From Karen Campbell in the Boston Globe:
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Choreographer models ‘Solos’ with Newman’s music in mind
It’s very telling that over the course of his 40-year dance career, choreographer Marcus Schulkind has been drawn again and again to the music of Randy Newman. The sardonic humor, dark cynicism, and deep humanism at the heart of the singer/songwriter’s best works are also at the core of many of Schulkind’s dances, especially the solo works.

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PostPosted: Thu Jun 15, 2006 8:01 am 
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From Marcia Siegel in the Boston Phoenix:
Quote:
Marcus Schulkind at Green Street, Java Kawistara! at the Dance Complex
.... The nine “restored and late model” solos on Marcus Schulkind’s concert at Green Street Studios two weekends back took about an hour all together. Instead of the shreds and startles that you come away with after a program of tiny dances, Schulkind’s concert provided strong impressions of strong performers, and a profile of a choreographer as well.
....
Special dance events of another kind are being presented in the Boston area by Java Kawistara!, three dancers and a musician from Central and West Java.

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PostPosted: Fri Sep 29, 2006 6:04 am 
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From Theodore Bale in the Boston Herald:
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Edmond gets career back on right ‘Track’
[Julie Pike Edmond 's] newest work, “Track,” premieres this weekend on the program “6 x 6: 6 Modern Dances by 6 Choreographers” at Green Street Studios in Cambridge, along with premieres by Jimena Bermejo, Nina Carmel, Kristen Duffy, Michael Jahoda and Margaret Pierce.
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The [Performance Works] project supports local choreographers with not only resources and facilities, but also artistic feedback.

http://theedge.bostonherald.com/artsNews/view.bg?articleid=159743More...


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