tanz.dance<p><a href="https://mastodon.world/tags/Avantgarde" class="mention hashtag" rel="nofollow noopener" target="_blank">#<span>Avantgarde</span></a>? Alongside Judson Church in <a href="https://mastodon.world/tags/NewYork" class="mention hashtag" rel="nofollow noopener" target="_blank">#<span>NewYork</span></a> (<a href="https://mastodon.world/tags/dancers" class="mention hashtag" rel="nofollow noopener" target="_blank">#<span>dancers</span></a>, <a href="https://mastodon.world/tags/white" class="mention hashtag" rel="nofollow noopener" target="_blank">#<span>white</span></a>), there was vogueing (dancers, <a href="https://mastodon.world/tags/black" class="mention hashtag" rel="nofollow noopener" target="_blank">#<span>black</span></a>). Or at least there used to be. And who reconciled them? Trajal Harrell. <a href="http://tanz.dance" rel="nofollow noopener" translate="no" target="_blank"><span class="invisible">http://</span><span class="">tanz.dance</span><span class="invisible"></span></a> portrays the master: <a href="https://tanz.dance/in-front-of-mirrors/?lang=en" rel="nofollow noopener" translate="no" target="_blank"><span class="invisible">https://</span><span class="ellipsis">tanz.dance/in-front-of-mirrors</span><span class="invisible">/?lang=en</span></a> His “The Köln Concert” in London, Sadler's Wells, April 4, 5 photo: Reto Schmid</p>