Our guide to dance performances.
KADER ATTOU — COMPAGNIE ACCRORAP at the Joyce Theater (Jan. 23-28 at various times). For its Joyce debut, this French company brings “The Roots,” a 2013 work by its director, Kader Attou, that expands the possibilities of theatrical hip-hop by melding it with contemporary dance, Indian kathak dance and circus arts. Eleven men, clad in casual office-wear, perform within a simple set that resembles a living room as snippets of Beethoven and electronica (among other music) plays. The polished corporate look and domestic scene soon succumb to a thrilling onslaught of tricks, tumbles, spins and synchronized gestures.
DEAN MOSS/GAMETOPHYTE INC. at Performance Space New York (Jan 23-27 at 7:30 p.m.). Taking inspiration (and its name) from Rainer Fassbinder’s 1972 all-female film “The Bitter Tears of Petra von Kant,” choreographer and media artist Dean Moss introduces “Petra,” a new work that is part of the 2018 COIL Festival. The work, which features an all-woman, immigrant cast, also looks to a Hindu goddess associated with self-sacrifice to address the tension between ambition and dispossession and to critique the concept of “diversity management.”
ELLEN ROBBINS: DANCES BY VERY YOUNG DANCERS at New York Live Arts (Jan. 20-21). For several decades, Ellen Robbins has helped young dancers become young dance makers, encouraging them to flex their choreographic muscle and tell stories that matter to them through movement. This showcase, featuring work by dancers under 18, runs the gamut of style, tone and theme — sometimes silly, sometimes serious, always earnest. What these young artists may lack in experience, they make up in imagination and spirit. An alumni concert takes place on Jan. 20 at 7:30 p.m.
KEI TAKEI/MOVING EARTH ORIENT SPHERE at New York Live Arts (January 25-27 at 8 p.m.). In 1969, Kei Takei created a work called “LIGHT,” which she has called a “dance diary,” to process the transition from her native Japan to studying at Juilliard. Over several decades, as she became a staple of the New York contemporary dance scene, she made dozens of entries. This week, kicking off the Lumberyard in the City Winter Festival, Ms. Takei performs the solo “LIGHT, Part 8” (1974) and her company performs “LIGHT, Part 44 (Bamboo Forest),” a meditation on life and death that was created in 2015. Together, the works illustrate a kind of artistic life cycle.
NEW YORK CITY BALLET at the David H. Koch Theater (Jan. 23-March 4 at various times). Over the holidays, City Ballet’s longtime director Peter Martins retired amid an ongoing investigation into his conduct. Though the winter season’s repertory was set well before his departure, it now heralds not just a new year but a new era. Fittingly, the first week begins with a nod to the past and future. Tuesday and Wednesday evenings offer two separate programs of three works each by the company’s revered founder, George Balanchine, including “Apollo” and “The Four Temperaments.” Thursday’s program features newer works, mostly by young choreographers, including the recent discovery Gianna Reisen and the company’s star resident choreographer, Justin Peck, who is one of four people filling in as an interim leader.