Carmina Burana. Bolero. Arvo Pärt’s Spiegel im Spiegel. Even The Rite of Spring. They’re good pieces, they work for dance, and audiences are familiar with them. “Still, many choreographers have been sabotaged by the formidable nature and Muzak-y overuse of these iconic compositions,” writes Joseph Carman, who talks to several choreographers about how they’ve successfully pulled the feat off. – Dance Magazine