Calendar

The Havana-based Malpaso Dance Company takes the stage for its eleventh engagement at The Joyce, delivering a dynamic program that embodies the pulse of contemporary Cuban dance. Since its founding in 2012 by Daile Carrazana, Osnel Delgado, and Fernando Sáez, Malpaso has become a powerhouse of bold innovation, pairing exquisite technique with an unyielding commitment to fostering new voices in contemporary dance and Cuban choreography.

The Grave’s Tears is a full-length choreographic work that expands on themes first explored in kNoname Artist’s Venom (2024), taking a deeper and more expansive look at the psychological toll of systemic oppression and the hatred directed toward the LGBTQIA+ community. Begun with seven male dancers, the work centers queer bodies as vessels of memory—sites where grief, resistance, intimacy, and survival coexist.

Jamel Gaines Creative Outlet, a leading dance-theater company devoted to social justice, presents a multimedia production exploring the Middle Passage, slavery, and emancipation. Inspired by The MAAFA Suite and the teachings of Bishop Rev. Dr. Johnny Ray Youngblood, Remembering blends contemporary and African dance with spoken word, music, and African drumming, bringing American history to life through African voices and dynamic audiovisual elements.

“Sophisticated and commanding” (Los Angeles Times), Trinity Irish Dance Company (TIDC) has pioneered a movement genre that “ushered in a new era for Irish step dance” (Chicago Tribune). Led by Founding Artistic Director Mark Howard and Associate Artistic Director Chelsea Hoy, this Chicago-based company celebrates 35 years of genre-defying innovation with a program representative of Howard’s unique vision to fuse vibrant Irish traditions with ever-evolving American innovation.

As hyperrealistic avatars and endless streams of images flood our screens, the line between our physical bodies and virtual selves has begun to blur. In Age of Content, the French multidisciplinary collective (LA)HORDE and Ballet national de Marseille explore how identity is fractured in the digital age, asking what remains singular about the living, breathing body.

Playing the Hits: Dancing with the Stars! is a monthly series of screening the documentation of older works by living choreographers. Please join us for each monthly gathering to see these important performances, hear a post screening conversation between Kim and the choreographer, and schmooze afterwards for a community hang. It’s casual! Suggested donation at the door.

Founded in 1985 and based in Brooklyn, Ronald K. Brown/EVIDENCE seamlessly melds traditional African and Afro-Cuban dance with contemporary movement and spiritual storytelling. For its homecoming season, the company returns with two captivating programs that honor Brown’s signature choreographic voice—uplifting themes of community, resilience, and transcendence through a powerful blend of rhythm and ritual.

Fifty years after its BAM debut, the Trisha Brown Dance Company returns to the opera house to honor the centennial of one of its most influential collaborators: Robert Rauschenberg, the visionary artist behind the stage designs for Set & Reset—Brown’s watershed work from the inaugural Next Wave Festival in 1983.

Following the international success of her first three multi-award-winning pieces, the solos and duets Pode ser / You’re the one we love / Bouffées Leïla Ka creates Maldonne, her first group piece nominated for the International Dance Prize 2025 at Sadler’s Wells in London and performed more than 100 times. It will be the USA premiere.

In Liberty Scrap, cash is tight, and the goings are tough, but Katya has managed to eke out a living in a scrap metal warehouse by day, and as an artist by night, fashioning sculptures out of debris. When her Uzbek father falls ill, she attempts to return home to care for him, only to discover her dubious immigration status is much more dangerous than she ever imagined, threatening to keep her separated from her family forever.

In La Nuée, performers experience what it is like to combine centrifugal momentum and pulsation inside their bodies. Accompanied by rustling noises, cries and songs, their silhouettes are inhabited by an image that their dance transmits. Confronted with this circle or round object, the audience is invited to not refuse the impossible, namely that of perceiving clarity in the darkness, and silence in the din.

g r oo v e is a solo performance by Soa Ratsifandrihana that draws on a wide range of dance styles, from baroque-influenced forms to the Afindrafindrao of her native Madagascar. She revisits the Madison, her first learned choreography, popularized in the 1960s by African American singer Al Brown, and references Ghost in the Shell, an anime she loved as a teenager.