In 2018, Kali Uchis released a debut album titled “Isolation”. Clearly she was ahead of her time. In November, the Colombian-American artist – with a moody, seductive, dance-inspired style – dropped her second studio album, this time mainly in Spanish, “Sin Mido (del amor y otros daemonios).” (Its lead single, “Aqua Yo Mando,” features up-and-coming rapper Rico Nasti.) The album “genre-hopping and era-hopping, from romantic retro orchestral bolero to brittle reggaetone,” John Pereless, lead The The pop music critic of the Times, wrote this month.
The 26-year-old, Uchis, between Columbia and the DC-Maryland-Virginia area, had many inspirations and influences, he told Intermediate magazine. “The last thing I ever want to do is be a predictable artist. I think my fans never know what to do when I leave the song.
Year of solo
It was not just that Coronavirus ended the live performance in March. The need for social isolation overcame every part of achieving a dance on one stage: suddenly, there were no more classes, no more rehearsals. How to fill that void? Solo.
This solitary form has provided an outlet for desperation, sadness and even excitement as dance artists continue to find meaning through movement. It is true that some efforts have been emotional and aimless, but a lot of good has come from it. Instagram published these explorations in a steady stream of posts from the beginning; The choreographers worked with dancers from afar to create films in which the body could be fearless and independent. “State of Darkness”, Molisa Fenley’s 1988 solo revival for Seven Dancers, was a spectacular, delightful achievement that comes from strength, both internally and externally.
One of the interpreters of this, dancer Sarah Merns, said that she saw herself as “someone who is going through a really hard time, but then comes out strong and on top in the end.” Yes, dance and dancers are suffering right now. But the single has given it – and them – a powerful voice. – Jia Courlas, dance critic for The New York Times