Double-Edge Dance

Critical Acclaim

“The most pervasive statement on the effects of media on human life came via Kora Radella’s Fourfold.  Wearing salt-and-peper-patterened sweaters evoking late-night television static, the dancers explored primitive, animalistic tendencies within a technologically advanced world.  The piece felt confrontationaly, with bodies slamming together, then gliding to the floor, or dancers grabbing one another’s heads to force turns.  The theme of attraction and resistance held the disconcerting work together.”
        – Sherri L. McLendon, Dance Magazine online, April 2002

“Kora Radella and Ross Feller have been working together since 1993 as the production team “Double-Edge.”  They created Untrimmed for the performer Hanna Barbara.  The title Untrimmed means uncut, unsupported and untamed and refers to the six-meter-long hair of Hanna Barbara, which is tied to a wire and defines the possible movements of the performer.  Like a red-gold umbilical cord, this hair holds the two antagonistic halves of the dancer together…Her language of movement is composed of tiny, strongly differentiated nuances using a degree of body control that makes every view of her face a choreographic element.”
        – Simone Meier, Basler Zeitung, February 8, 1997, [“Untrimmed in ROXY:  From Rapunzel to Femme Fatale,”  translated by  Jürgen Banholzer]

“The personality diveison is the theme of the piece Untrimmed, performed by Hanna Barbara under the direction of Kora Radella in the ROXY.  This piece presents a stong concept convincingly realized…The body control of the artist alone is worth seeing:  precise, expressive and direct…Hanna Barbara demonstrates wonderfully, in her tneder buy vain stuglle with her fixed horse-ail of five meters in length, that there is no escape from ones burdens and theat one is bound to work them out seriously…What Kora Radella and Hanna Barbara, both of whom studied modern dance at the School for New Dance Development  in Amsterdam, presented in ROXY, was a successful representation of the wholly immaterial…The applause from the public was long and sustained.”
        – Bea Berczelly, Basellandschaftliche Zeitung, Feb. 8, 1997, translated by Jürgen Banholzer

“Young newcomers Kora Greene and Maxi Hill (Amsterdam) danced a slippery, sensuous duet in Castles in Shifting Sand…They moved out of their separate worlds through lyrical holds and rolls, and ripped open their dresses with a hissing rage…Daring falls required trust and exquisite timing, which they had.  The desperate lurching movements, the mock battle, the sensuous hip twists and exuberant dives created a passionate relationship.”
        – Amy Sparks, High Performance, Fall 1990

“The combination of dance, performance art, text, movement, and sculpture was a joy to witness…certainly a highlight of our Festival.”
        – Tom Mulready, Director of the Cleveland Performance Art Festival, 1990

“Through enormous simplicity there arose incredible changes and extremely fascinating movement.”
        – Ineke Sluiter Prize announcement, Amsterdam, 1989

“In her collaborations with Maxi Hill, one of which was awarded a major choreography prize in Amsterdam, Kora created a portrait of the dancer which absolutely transformed her subject:  in other words, she has the gift…I find myself constantly surprised, but never bewildered…A natural experimenter, with relationships on and off stage, Kora is thoroughly equipped to carry out the expedition she proposes, and arrive at the destination, having mapped the entire journey.  And we could all make use of her maps”
        – Christina Svane, Choreographer, Performer, and Teacher

“This same independence of spirit has given her professional choreographic work as a dance artist a strong identity and character.”
        – Mary Fulkerson, The Dance Academy in Arnhem, The Netherlands