Dance

In “Searching for Goya,” at the Joyce Theater, the troupe uses the painter’s images as frames for flamenco dances.

Under the banner “American Legacies,” the Martha Graham Dance Company dusted off a classic, “Rodeo,” premiered a companion piece and welcomed FKA twigs for a guest solo at City Center.

Two dancers from the Russian company were set to perform at a benefit for a prestigious competition for young dancers, but they were sidelined after protests by pro-Ukrainian activists.

Living with a disability, I shielded myself from dance. Then I met him.

Advice on quashing doubt and maximizing procrastination, according to Joan Baez, Kim Gordon, Bill T. Jones and Myha’la.

This season’s beginners, from Ice Spice to Tyla to Sarah Pidgeon.

The Sydney Dance Company’s “ab [intra]” at the Joyce Theater is impressive but chilly.

Once a young bunhead, the acclaimed musical artist is taking the stage with the Martha Graham Dance Company. For her, it’s holy grail territory.

He brought worldwide attention to a radical yet elemental form of contemporary dance that emerged in the wake of wartime destruction.

New York City Ballet will present a mix of old and new works, including premieres by Justin Peck, Alexei Ratmansky and Caili Quan, and introduce fewer intermissions.

As Harlem Stage’s E-Moves dance series turns 25, Bill T. Jones and other major choreographers discuss its impact on Black dance in New York.

The company performed its first New York City Center season under the direction of Robert Garland in a program including George Balanchine’s “Pas de Dix.”

In “Nail Biter,” a New York City premiere, this exacting choreographer explores her ballet roots and how to be in her body now.

The pandemic was tough on city centers and cultural institutions. What does that mean for Los Angeles, whose downtown depends on the arts?

The choreographer Dianne McIntyre presents “In the Same Tongue,” a dance she calls “an artistic history of myself,” at the new Apollo Stages at the Victoria Theater.

“We the People,” Roberts’s first dance for the Martha Graham Dance Company, finds the rage and resistance hidden in an upbeat score by Rhiannon Giddens.

Under the artistic leadership of Emily Molnar, Nederlands Dans Theater returned to New York City Center with a less than stellar triple bill.

Ayodele Casel leads a program celebrating Roach’s centenary that also includes works by Rennie Harris as well as by Ronald K. Brown and Arcell Cabuag.

Benjamin Millepied and Nico Muhly’s evening of minimally accessorized dance and contemporary music feels right at home at the Philharmonie in Paris.

As the second company of Alvin Ailey American Dance Theater has evolved, it has trained dancers and choreographers for tenacity as much as technique.

In “Until the Lion Tells the Story…,” Lacina Coulibaly walks in his ancestors’ footsteps.

The choreographers Baye & Asa usher the Sphinx puzzler into a vaguely menacing landscape.

The Trisha Brown Dance Company returned to the Joyce Theater with an enthralling premiere by the French choreographer Noé Soulier.

A new work, “The White Feather” is inspired by the history of the Iranian National Ballet, which went dark during the Islamic Revolution and was never revived.

The performer stopped dancing after the death of her husband, Stephen Boss. Now she’s a judge on “So You Think You Can Dance,” the show where they met.

A new production of the ballet sets it in 1930s Hollywood instead of a mythic India, eliminating Orientalist clichés while embracing American ones.

With the singer Harry Belafonte, she was half of a celebrated, and sometimes denounced, interracial power couple who pressed the cause of civil rights in the 1960s.

Mark Morris’s “The Look of Love” at the Brooklyn Academy of Music is uneven, but you can’t fight its swing.

The production will make its transfer unusually fast, with an opening set for April 24, just 29 days after it wraps up a sold-out run at the Park Avenue Armory.

The choreographer, who has spent her career mixing genres and disciplines, comes to ballet with an eye on its sometimes calcified gender relations.

At City Center, performers like Olga Pericet and Manuel Liñán knew the rules they were bending.

Gayli, a dance night at a Brooklyn bar, provides a welcoming atmosphere for Irish dancing.

Barry Hughson, a leader at the National Ballet of Canada, will join the company as it tries to get beyond financial woes.

Hubbard Street Dance Chicago presents the first of two programs at the Joyce Theater, including a sparkling New York premiere by the hip-hop choreographer Rennie Harris.

Justin Peck, who directs and choreographs a narrative dance musical to Sufjan Stevens’s concept album “Illinois,” resorts to his usual standby: community.

New works, by Alexei Ratmansky and Tiler Peck, and revivals brought solace and sadness, beauty and humor — and full-out, thrilling dancing this winter season.

Pontus Lidberg’s “On the Nature of Rabbits” at the Joyce Theater is a dance haunted by AIDS.

In Ursula Eagly’s “Dream Body Body Building” at the Chocolate Factory, the dancers seem to be transmitting a dream state to the audience.

Hussein Smko’s encounter with an American soldier in Iraq led him to become a dancer. This week he performs in Pontus Lidberg’s work at the Joyce Theater.

Imaginative dance abounds in Hollywood, but its creators remain unheralded at awards time.

Olga Pericet’s “La Leona” and a dance panorama by Ballet Nacional de España look to the past, with an eye to recovery and invention.

The Afro-Colombian company Sankofa Danzafro presents “Behind the South: Dances for Manuel” at the Joyce Theater.

This narrative dance musical, set to Sufjan Stevens’s album, is a coming-of-age story and a meditation on death, love, community, politics and zombies.

The institution co-founded by George Balanchine celebrated at Lincoln Center on Monday night.

With Judson Dance Theater and as the founder of contact improvisation, he expanded the possibilities of what dance could be, developing works around basic tasks like walking.

Robert Garland, Dance Theater’s new artistic director and longtime resident choreographer, presides over his first season at New York City Center.

“Deep River,” featuring the choreographer’s company, Lines Ballet, has a meditative flow without much grit.

The choreographer Anne Teresa De Keersmaeker teams up with the pianist Pavel Kolesnikov for a new production of the Bach masterpiece at N.Y.U. Skirball.

The summer’s Vail Dance Festival features Mearns, the New York City Ballet star, and the choreographer Roberts.

“The Notebook” and “Cabaret” land on Broadway. Olivia Rodrigo’s tour stops in Manhattan. Plus: Herbie Hancock, Heartbeat Opera and Trisha Brown Dance Company.

The choreographer’s contemplative “Deep River,” performed by Lines Ballet at Lincoln Center’s Rose Theater, swims along, brimming with hope and love.

Jean Butler’s “What We Hold,” at the Irish Arts Center, is an installation-like work that seeks restrained classicism in a post-“Riverdance” world.

In “Solitude,” a stellar, haunting work that had its premiere on Thursday, New York City Ballet’s artist in residence brings a photograph to life.

The transformative contribution, from an anonymous donor, is the largest in the company’s 91-year history and one of the biggest ever to an American dance group.

Her program at the Joyce Theater features an extroverted dance from 1975 and two new works: an introspective solo to Jacques Brel and an antic look at a choreographer creating.

The nonbinary dancers Ashton Edwards and Taylor Stanley made history in their magnetic performance of Justin Peck’s “The Times Are Racing” at New York City Ballet.

In “What We Hold” at the Irish Arts Center, the “Riverdance” star turned contemporary choreographer returns to Irish dance with an inquiring lens.

For her latest program at the Joyce Theater, the one-of-a-kind choreographer showcases two new dances, along with a revival of “Ocean’s Motion.”

In this work, inspired by Quentin Tarantino’s “Kill Bill” films, Croatian performers address the fraught director-actress relationship at its core.

Alexei Ratmansky, arguably the most important ballet choreographer today, has made a deeply personal first work as artist in residence that reflects his Ukrainian roots.

The current season of “The Real Housewives of Beverly Hills” meets Merce Cunningham in an incongruous mash-up of reality TV and modern dance.

The Brooklyn Museum exhibits art works collected by the musical superstars — and makes a show of the collectors, too.

Philadanco returns to New York with four premieres that highlight the dancers’ skills without revealing much deeper artistry.

Companies are cropping up and expanding. Is the city on the cusp of a fertile chapter in its dance history?

George Lee was the original Tea in “George Balanchine’s The Nutcracker.” A documentary filmmaker found him and a lost part of ballet history in Las Vegas.

With one arm and one leg, he upended assumptions that disabled people could not lead fulfilling lives, and his artistry had audiences clamoring for more.

Peck’s choreographic debut for the company, the lively “Concerto for Two Pianos,” shares the spotlight with Alexei Ratmansky’s mysterious, wonderful “Odesa.”

Molissa Fenley’s “From the Light, Between the Lamps,” a collection of short works, is a steady, rigorous exploration of movement to music.

The group, led by Leonardo Sandoval and Gregory Richardson, leans into tap’s oneness of dance and music for “I Didn’t Come to Stay.”

Onstage and off, she was celebrated as a pathbreaking triple-threat who left a huge legacy in musical theater and dance.

A quadruple threat, Rivera could make a lasting impression in minutes, whether onstage or onscreen. These videos illustrate why.

Chita Rivera saw herself as a dancer, and that’s fitting: Her early ballet training was her secret weapon — and it never left her body.

Deborah Jowitt’s “Errand Into the Maze” revels in the artistry of the dance legend, while downplaying the messy choices in her marathon career.

Tiler Peck, a New York City Ballet star, is making her first work for the company. “It’s my opportunity to pass on to the next generation anything that’s been given to me.”

The actor, singer and reality TV personality fills his day with video games, comfort food with friends and a teary trip to the movies.

The American Museum of Natural History is closing two major halls as museums around the nation respond to updated policies from the Biden administration.

At Japan Society, “Nihon Buyo in the 21st Century,” a rare showcase in New York of this style of Japanese dance, forges a link between the past and present.

He worked with the Martha Graham and Paul Taylor troupes and then created his own group, Dan Wagoner and Dancers.

In Compagnie Hervé Koubi’s “Sol Invictus” at the Joyce Theater, the dancers’ extraordinary moves are integrated into a poetic vision.

Laurel Graeber, who has covered kids’ entertainment at The Times for nearly three decades, shared her favorite stories and interviews from the beat.