{"id":608,"date":"2009-01-30T12:53:21","date_gmt":"2009-01-30T20:53:21","guid":{"rendered":"http:\/\/www.artsjournal.com\/foot\/wp\/2009\/01\/foots_greatest_hits_2008_editi\/"},"modified":"2009-01-30T12:53:21","modified_gmt":"2009-01-30T20:53:21","slug":"foots_greatest_hits_2008_editi","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/foot\/2009\/01\/foots_greatest_hits_2008_editi.html","title":{"rendered":"An encore presentation (aka a rerun) of about a dozen Foot pieces from 2008"},"content":{"rendered":"


<\/font><\/p>\n

Because I won’t have much new to offer in the next few weeks.
<\/font><\/p>\n


<\/font><\/font><\/p>\n

u A feature and exclusive interviews <\/a>with Mikhail Baryshnikov, Wendy Whelan, and Damian Woetzel on Jerome Robbins (April).<\/font><\/font><\/font><\/p>\n


<\/font><\/font><\/font><\/font><\/p>\n

u Sidi Larbi Cherkaoui and Akram Khan’s “Zero Degrees”<\/a>–a powerfully helpless melancholy in the face of a senselessly violent world (April).<\/font><\/font><\/font><\/font><\/font><\/p>\n


<\/font><\/font><\/font><\/font><\/font><\/font><\/p>\n

u War dances and a new inertia<\/a> (May).<\/font><\/font><\/font><\/font><\/font><\/font><\/font><\/p>\n


<\/font><\/font><\/font><\/font><\/font><\/font><\/font><\/font><\/p>\n

u Julian Barnett’s “Sound Memory” and other odes to retro habits<\/a> (June).<\/font><\/font><\/font><\/font><\/font><\/font><\/font><\/font><\/font><\/p>\n


<\/font><\/font><\/font><\/font><\/font><\/font><\/font><\/font><\/font><\/font><\/p>\n

u A cornucopia of New York premieres reviewed<\/a>: Ratmansky’s “Concerto Dsch” at NYCB, Twyla Tharp’s “Rabbit and Rogue” at ABT, and onetime bad boy Michael Clark at Lincoln Center’s Great Performances (June).<\/font><\/font><\/font><\/font><\/font><\/font><\/font><\/font><\/font><\/font><\/font><\/p>\n


<\/font><\/font><\/font><\/font><\/font><\/font><\/font><\/font><\/font><\/font><\/font><\/font><\/p>\n

u Neil Greenberg’s inward dances<\/a> (June). <\/font><\/font><\/font><\/font><\/font><\/font><\/font><\/font><\/font><\/font><\/font><\/font><\/font><\/p>\n


<\/font><\/font><\/font><\/font><\/font><\/font><\/font><\/font><\/font><\/font><\/font><\/font><\/font><\/font><\/p>\n

u Alvin Ailey’s 50th anniversary, from the inside out<\/a> (<\/font><\/font><\/font><\/font><\/font><\/font><\/font><\/font><\/font><\/font><\/font><\/font><\/font><\/font><\/font>by Theresa Ruth Howard, <\/font><\/font><\/font><\/font><\/font><\/font><\/font><\/font><\/font><\/font><\/font><\/font><\/font><\/font><\/font>July).<\/font><\/font><\/font><\/font><\/font><\/font><\/font><\/font><\/font><\/font><\/font><\/font><\/font><\/font><\/font><\/p>\n


<\/font><\/font><\/font><\/font><\/font><\/font><\/font><\/font><\/font><\/font><\/font><\/font><\/font><\/font><\/font><\/font><\/p>\n

u Jerome Robbins’ controversial “Goldberg Variations,”<\/a> back and front.<\/font><\/font><\/font><\/font><\/font><\/font><\/font><\/font><\/font><\/font><\/font><\/font><\/font><\/font><\/font><\/font><\/font><\/p>\n


<\/font><\/font><\/font><\/font><\/font><\/font><\/font><\/font><\/font><\/font><\/font><\/font><\/font><\/font><\/font><\/font><\/font><\/font><\/p>\n

u Lovecat: tribute to kitty love<\/a> (August)<\/font><\/font><\/font><\/font><\/font><\/font><\/font><\/font><\/font><\/font><\/font><\/font><\/font><\/font><\/font><\/font><\/font><\/font><\/font><\/p>\n


<\/font><\/font><\/font><\/font><\/font><\/font><\/font><\/font><\/font><\/font><\/font><\/font><\/font><\/font><\/font><\/font><\/font><\/font><\/font><\/font><\/p>\n

u Thoughts on Forsythe, the controversy around Veronika Part, and ABT’s Romantic “Giselle”  <\/a>(August). <\/p>\n

<\/font><\/font><\/font><\/font><\/font><\/font><\/font><\/font><\/font><\/font><\/font><\/font><\/font><\/font><\/font><\/font><\/font><\/font><\/font><\/font><\/font><\/p>\n

u The adored and despised Ann Liv Young,<\/a> performance artist (October).<\/font><\/font><\/font><\/font><\/font><\/font><\/font><\/font><\/font><\/font><\/font><\/font><\/font><\/font><\/font><\/font><\/font><\/font><\/font><\/font><\/font><\/font><\/font><\/p>\n


<\/font><\/font><\/font><\/font><\/font><\/font><\/font><\/font><\/font><\/font><\/font><\/font><\/font><\/font><\/font><\/font><\/font><\/font><\/font><\/font><\/font><\/font><\/font><\/font><\/p>\n

u How to watch a Wheeldon ballet<\/a> (October).<\/font><\/font><\/font><\/font><\/font><\/font><\/font><\/font><\/font><\/font><\/font><\/font><\/font><\/font><\/font><\/font><\/font><\/font><\/font><\/font><\/font><\/font><\/font><\/font><\/font><\/p>\n


<\/font><\/font><\/font><\/font><\/font><\/font><\/font><\/font><\/font><\/font><\/font><\/font><\/font><\/font><\/font><\/font><\/font><\/font><\/font><\/font><\/font><\/font><\/font><\/font><\/font><\/font><\/p>\n

u Antony Tudor, Gillian Murphy, and “Pillar of Fire”<\/a> (November).<\/font><\/font><\/font><\/font><\/font><\/font><\/font><\/font><\/font><\/font><\/font><\/font><\/font><\/font><\/font><\/font><\/font><\/font><\/font><\/font><\/font><\/font><\/font><\/font><\/font><\/font><\/font><\/p>\n


<\/font><\/font><\/font><\/font><\/font><\/font><\/font><\/font><\/font><\/font><\/font><\/font><\/font><\/font><\/font><\/font><\/font><\/font><\/font><\/font><\/font><\/font><\/font><\/font><\/font><\/font><\/font><\/font><\/p>\n

u Being Somebody<\/a> (on Faye Driscoll’s “837 Venice Blvd,” December).<\/font><\/font><\/font><\/font><\/font><\/font><\/font><\/font><\/font><\/font><\/font><\/font><\/font><\/font><\/font><\/font><\/font><\/font><\/font><\/font><\/font><\/font><\/font><\/font><\/font><\/font><\/font><\/font><\/font><\/p>\n

<\/p>\n

<\/p>\n","protected":false},"excerpt":{"rendered":"

Because I won’t have much new to offer in the next few weeks. u A feature and exclusive interviews with Mikhail Baryshnikov, Wendy Whelan, and Damian Woetzel on Jerome Robbins (April). u Sidi Larbi Cherkaoui and Akram Khan’s “Zero Degrees”–a powerfully helpless melancholy in the face of a senselessly violent world (April). u War dances […]<\/p>\n","protected":false},"author":3,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_genesis_hide_title":false,"_genesis_hide_breadcrumbs":false,"_genesis_hide_singular_image":false,"_genesis_hide_footer_widgets":false,"_genesis_custom_body_class":"","_genesis_custom_post_class":"","_genesis_layout":"","footnotes":""},"categories":[4],"tags":[],"class_list":{"0":"post-608","1":"post","2":"type-post","3":"status-publish","4":"format-standard","6":"category-main","7":"entry"},"_links":{"self":[{"href":"https:\/\/www.artsjournal.com\/foot\/wp-json\/wp\/v2\/posts\/608","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.artsjournal.com\/foot\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.artsjournal.com\/foot\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/foot\/wp-json\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/foot\/wp-json\/wp\/v2\/comments?post=608"}],"version-history":[{"count":0,"href":"https:\/\/www.artsjournal.com\/foot\/wp-json\/wp\/v2\/posts\/608\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/foot\/wp-json\/wp\/v2\/media?parent=608"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/foot\/wp-json\/wp\/v2\/categories?post=608"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/foot\/wp-json\/wp\/v2\/tags?post=608"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}