Summarize this content to 2000 words in 6 paragraphs in Arabic Unlock the Editor\u2019s Digest for freeRoula Khalaf, Editor of the FT, selects her favourite stories in this weekly newsletter.Draw a contemporary dance family tree and Pam Tanowitz and Jules Cunningham are very close relations. Tanowitz, the New York choreographer, was taught by one of Merce Cunningham\u2019s original dancers and the Anfield-born Cunningham (no relation) performed with his company for more than a decade but the family resemblance expresses itself in very different ways. Both have just premiered new works in London in the Van Cleef & Arpels Dance Reflections season.Tanowitz was at the Royal Opera House on Tuesday afternoon with the premiere of Neither Drums Nor Trumpets, made for the huge glass Floral Hall, former home of the old Covent Garden flower market. Tanowitz\u2019s splendid dancers surged gleefully back and forth across the space, movement motifs passing from one body to the next like a flow of electric current. The seven core performers, dressed in leafy green jumpsuits, relished the challenges, holding neverending balances on steely demi-pointes (\u00a9 M Cunningham) or dashing off a few Italian fouett\u00e9s with throwaway ease.The soundtrack blends a Caroline Shaw composition with extracts from Beethoven\u2019s Pastoral Symphony and a scratchy remix of Fanny Brice\u2019s 1921 recording of \u201cSecond Hand Rose\u201d that sounded like someone searching for the BBC Home Service on an old wireless set.The programme note talks of mining the hall\u2019s \u201crich history\u201d as flower wholesaler, scenery store, dance hall and hospitality space. The choreography doesn\u2019t really reflect any of this \u2014 such rigorous, multi-layered movement scarcely needs a back story \u2014 but there were times when the building itself seemed to sabotage the dance. Tanowitz\u2019s writing is difficult to absorb at one sitting and this is made harder still when the work is performed in the round in broad daylight. The surrounding audience (all wearing their earnest \u201clistening to music\u201d faces) were a constant distraction.\u2605\u2605\u2605\u2605\u2606Jules Cunningham\u2019s double bill at Sadler\u2019s Wells East, Crow\/Pigeons, promised \u201ca tender exploration and disruption of normativity\u201d, drawing dubious parallels between marginalised people and unsanitary urban wildfowl. Crow was a short, shapeless duet set to a live mix by JD Samson of Le Tigre. At 45, Cunningham remains a powerful dancer with strong, sharp feet and Harry Alexander is blessed with an unforced elegance of line, who adds weight and drama to every touch, but the piece still felt overthought and undercooked. Early in the proceedings, the house lights came up and the trio stared furiously through the fourth wall at the (thinnish) crowd. \u201cThis is a relaxed performance\u201d promised a notice in the foyer. Not from where I was sitting.\u2605\u2606\u2606\u2606\u2606Pigeons was set to a recording of the four-piano version of Julius Eastman\u2019s Gay Guerrilla, a minimalist response to Martin Luther\u2019s hymn \u201cA Mighty Fortress Is Our God\u201d. Cunningham and four fellow dancers cluster and separate, \u201cMickey-Mousing\u201d to the score\u2019s insistent rhythms, but the movement adds little to Eastman\u2019s music and, if anything, distracts from its power. Joshie Harriette\u2019s exquisite lighting created ever-changing patterns on the bare floor but came perilously close to upstaging the figures dancing upon it. Cunningham\u2019s years with Merce Cunningham are always apparent \u2014 the unwavering arabesques, the tireless tiptoe \u2014 but we miss the master\u2019s sheer joy of movement.\u2605\u2605\u2605\u2606\u2606dancereflections-vancleefarpels.com<\/p>\n","protected":false},"excerpt":{"rendered":"
Summarize this content to 2000 words in 6 paragraphs in Arabic Unlock the Editor\u2019s Digest for freeRoula Khalaf, Editor of the FT, selects her favourite stories in this weekly newsletter.Draw a contemporary dance family tree and Pam Tanowitz and Jules Cunningham are very close relations. Tanowitz, the New York choreographer, was taught by one of<\/p>\n","protected":false},"author":1,"featured_media":256115,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[65],"tags":[],"class_list":{"0":"post-256114","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-culture"},"_links":{"self":[{"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/posts\/256114","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/comments?post=256114"}],"version-history":[{"count":1,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/posts\/256114\/revisions"}],"predecessor-version":[{"id":256116,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/posts\/256114\/revisions\/256116"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/media\/256115"}],"wp:attachment":[{"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/media?parent=256114"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/categories?post=256114"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/tags?post=256114"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}