Siobhan Burke

  • Tere O’Connor, Rivulets, Baryshnikov Arts Center, New York, 2022. From left to right: Jessie Young, Jordan Lloyd (foreground), Emma Judkins, Tess Dworman (background), Wendell Gray II (background), Mac Twining (foreground), Leslie Cuyjet, Jordan Morley. Photo: Maria Baranova.
    performance December 30, 2022

    Live Stream

    LEAVING THE THEATER after Tere O’Connor’s Rivulets, I distinctly felt that I had just seen a dance by Tere O’Connor. That might sound obvious, but it’s not something you can say about every choreographer—that their work feels unmistakably theirs. With the rupture of the pandemic between O’Connor’s last major project (Long Run, 2017) and this one, the continuity of his aesthetic struck me as both reassuring and surreal, a reminder that while so much has changed, some people, somehow, have managed to keep doing their thing.

    When I think of a Tere O’Connor dance, I think of multiplicity, flourishing,

  • Mina Nishimura, Mapping a Forest While Searching for an Opposite Term of Exorcist, Danspace Project, New York, 2022. Mina Nishimura. Photo: Ian Douglas.
    performance November 21, 2022

    Being and Nothingness

    WITH THE WINDING TITLE of her latest dance, Mapping a Forest While Searching for an Opposite Term of Exorcist, the choreographer Mina Nishimura suggests she’s looking for a role, a word, which she has so far grasped only by way of its inverse. As the audience filed into Danspace Project at St. Mark’s Church before the show, the work’s title was projected across one wall. If an exorcist expels spirits from a body, or a space, would Nishimura and her collaborators be inviting spirits in, summoning the supernatural into their bodies and the space of the church?

    It sometimes seemed that way, if

  • Narcissister, Organ Player, 2018, digital, color, sound, 91 minutes.
    interviews November 14, 2018


    Narcissister’s neo-burlesque performance works seem to spring from a limitless body. Masked and anonymous, she transforms herself through acrobatic prowess and ingenious stage and costume design, as she plays with themes of race, sex, gender, and pop culture. Her documentary Narcissister Organ Player––which explores her relationship with her mother, who occasionally appeared in her work––is on view at Film Forum in New York through November 20, 2018. There will be a Q&A Saturday, November 17, 2018 at 7pm with Narcissister and Lissa Rivera, the Museum of Sex Curator. 


  • Trisha Brown Dance Company, Ballet. Performance view, BAM, Brooklyn, 2018. Cecily Campbell. Photo: Stephanie Berger.
    performance October 22, 2018

    World on a Wire

    OF ALL THE DANCE COMPANIES to hash out legacy plans in recent years—to ask what comes next after a founding choreographer’s death—the Trisha Brown Dance Company stands out for going with the flow, much in the manner of Brown’s dances.  

    When Merce Cunningham died, his company made the firm decision to fold and license his works to other groups. A few months before his recent passing, Paul Taylor appointed a successor to continue the preservation and commissioning project known as Paul Taylor American Modern Dance. Mark Morris, still very much with us, announced that at sixty-two, he

  • Milka Djordjevich, ANTHEM, 2018. Performance view, The Chocolate Factory Theater, Long Island City, New York, 2018. Dorothy Dubrule. Photo: Brian Rogers.
    performance May 23, 2018

    All Together Now

    MILKA DJORDJEVICH'S ANTHEM sneaks up, quite literally, on its audience. At the Chocolate Factory Theater, we the audience had taken our seats around a parquet dance floor when from a back hallway, four women appeared, step-touching toward us in conga-line formation. Their clothes seemed plucked from a 1970s closet: a gold velour jumpsuit for one dancer; suspendered pants for another; and for everyone, black jazz shoes. They took their time, as unrushed as the iridescent soundscape anointing their entrance.

    Were they at a disco? A bat mitzvah? Maybe a high school dance, but then there would be