Biba Bell rarely makes dances for traditional theatres. She prefers to work in the world (in the wild), in unique spaces that she gets to know, enlivens, and, in her words, “complicates” with dance.

It's been eight days since the Detroit production of Bliss, the titanic performance installation staged by Michigan Opera Theatre in the ruins of the old Michigan Theatre, and here I am still bobbing along happily in its wake.

Oh Detroit, what have we done to deserve Kathy Leisen?

The theme of "Common Time" is the dense network of creative collaborations and relationships that typified Merce Cunningham's practice—and that brought dance into fruitful contact with the wider art world.

I was glad to have the opportunity to experience an innovative installation version of Merce Cunningham's 1968 dance RainForest recently.

Woman in E is about objectification and music, cinema and presence, glamour and artifice. It's about art history's long line of singular, sorrowful women, and about women's long history of being looked at.

Dance is structured in three sections: in the first and third, the dancing is propulsive, and the dancers leap and spin about the stage in focused bursts of repeated movement. The second section, a solo, begins in complete stillness.