“…como el musguito en la piedra, ay si, si, si…” - Pina Bausch (2009)

"The moment the curtain rises on Pina Bausch’s masterpiece, '…como el musguito en la piedra, ay si, si, si…' at the BAM Howard Gilman Opera House, we see a woman on all fours; a primal position that feels both demeaning and funny, all at once. By beginning the evening with this pose Bausch conveys that this work isn’t about the ethereal women of Marius Petipa or the idealized women of Balanchine. Instead, Bausch is interested in what it means to be a contemporary woman—and there is nothing otherworldly about it. Similar to Marcel Duchamp’s scandalous work 'Fountain' (1917), a porcelain urinal turned upside-down and placed in a museum, Bausch has her dancers reenact everyday female rituals, turns them on their heads and sets them on a stage: a woman applies makeup while a man pours a bottle of water on her head, and a woman sitting at a restaurant eats her meal beneath the table."
The Dance Critic
The New Yorker: Pina Bausch’s True Gifts
NYC Dance Stuff
The New Yorker: Pina Bausch’s Last Dance
NYT: The Swan Song of Pina Bausch
Tanztheater Wuppertal Pina Bausch
Review: The Last Testament Of Pina Bausch
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2008 May: Pina Bausch, 2009 June: Pina Bausch 1940-2009, 2012 August: Pina Bausch Costumes.