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Have you ever wanted to wrap yourself up in paper and call it a night? In ''Fold,'' Neta Pulvermacher, an Israeli-born choreographer with a wild imagination, did just that on Thursday evening at Danspace Project. More precisely, her dancers wrapped, and she spoke and sang. The new dance takes inspiration from a line by the French philosopher Gilles Deleuze: ''We define the abstract machine as the aspect or moment at which nothing but function and matter remains.'' In this chaotic work, which Ms. Pulvermacher dedicates to her son, rolls of white paper and origami shapes that dancers fly like kites dominate the landscape. [ABSTRACT FROM PUBLISHER]

The article reviews a dance performance by Marie Cool and Fabio Balducci at the show "Performa 07," at various locations in New York City.

The article reviews a dance performance by the Wally Cardona Quartet at the Dance Theater Workshop in New York City.

The dances of Jacqulyn Buglisi could be likened to a powdery musk. At first her work gives off an antique allure, but over time that bouquet turns into something oppressive. She sprays it on thick. In the two works her Buglisi Dance Theater presented Tuesday night at the Joyce Theater -- ''Requiem'' from 2001 and ''Letters of Love on Ripped Paper,'' a premiere for 18 dancers -- she demonstrates her usual sensual depiction of female characters. A former member of the Martha Graham Dance Company, she punctuates sharp movement -- a contraction drives the back to twist in angst -- with a dreamy, floating quality. Arms rise and frame the face to show longing, headiness, joy or despair. [ABSTRACT FROM AUTHOR]

If you had $10,000 to burn, which choreographer would you choose to support? This is the premise of ''The A.W.A.R.D. Show!,'' though the title doesn't refer to the cash prize but is instead a rather torturous acronym: Artists With Audiences Responding to Dance. I'm not sure I know what that means, but it sounds ominous. Over three nights at the Joyce SoHo, 12 choreographers vie for audience votes, which are cast on little paper ballots; on the fourth night, the three finalists' works are performed again: the winner gets $10,000 and the runners-up $1,000 each. The other nine contestants, and their collaborators, walk away empty-handed. (It's an ugly downside to this contest, especially given that dancers and choreographers are rarely adequately compensated for their labor; even $10,000 quickly begins to seem like a small number when you do a realistic accounting of the hours and costs associated with making a piece.) [ABSTRACT FROM AUTHOR]