“On the heels of a series of successful pop productions, [Alberta Ballet] was working for a second time with singer Joni Mitchell, working to stage a production based on her love songs.” But an artistic disagreement with Mitchell and the consequent cancellation “cost [the company] about a million dollars … in single ticket sales that were budgeted for but were then lost.”
“For those used to the more reserved style of the French or the bravura of Soviet Russian ballet, the Cuban style can appear distinctly different. … Here are a few things to watch for.”
“Wellness among women in the ballet world is a complex and evolving subject. There’s the constant threat of injury ending an already short career, the mental pressure to excel within an elite company, the physical demands of ten-hour rehearsal days and evening performances — all being juggled by dancers who are in many cases still teenagers.”
“This almost feels like a performance in print. … It’s not just like, oh, that’s a nice photograph, but you’re actually watching something unfold.”
“I’ve kept my head on straight and kept my eye on the real prize which is having a career that is full and spans many different spectrums of dance and that I did this on my own. It took me a long time to get comfortable in my skin as a human. I don’t know that I would have had the strength earlier to step away from City Ballet had I been offered something like Cats.”
“Soldier Kim Joo-hyeok, 23, describes the activity as a way to ‘stay calm and find balance, as well as build friendships with my fellow soldiers.'”
With “Just Dance,” I am elevating my heart rate, but I am also sidestepping the self. Depending on the song and background images, I am a partying hipster in a floor-length fur (Macklemore, “Can’t Hold Us”), or a futuristic funk dancer (Nicki Minaj, “Pound the Alarm”), or a girl with swinging blond hair at a club. Critics complain that the offerings on “Just Dance” skew painfully toward bubble-gum pop, but it also means that on “Just Dance,” I am forever young.
“Lightning and strong winds struck the Board of Trade building in downtown Duluth early Thursday, knocking the chimney through part of the roof – and leaving many of the Minnesota Ballet’s costumes under a thick pile of rubble. … The rest of the ballet’s rooms were unharmed, except for a few branches that came through the dance floor studio windows.”
A debate and forum in London earlier this month came to close to recommending just that: one of the action points was “Implement strategic equality quotas with Boards, funders, Associate Artists and artistic programmes.” The conclusion was that “‘strategic quotas’ could be beneficial if, and only if, they created a trickledown effect. But how effective can quotas be?” And would it help or hurt if government funders required them?
Singer-songwriter Sia and choreographer Ryan Heffington “believe that dance is underused in pop music – more that it is abused much of the time by adhering to an easy formula. ‘We established the artist and backup dancers, I believe, in the early ’80s,’ he said. ‘There has to be evolution, and there is. We’re doing it.'”
Company member Sean Aaron Carmon, who conceived and choreographed the brief piece as a response to the recent shootings by and of police, talks about where his material came from and whether “Freedom” could become part of a larger project.
Evidence suggests that synchronising movement with others leads to feelings of togetherness or ‘oneness’ – perhaps because the intentional act of coordinating with another person necessitates sharing mental states. To row a boat down the river, the individual ‘I’ must become the collective ‘we’.
“Does this statement sound familiar to you? ‘My hip snaps or pops when I do grand battement or developpé devant or à la seconde. The snap sometimes presents with pain but sometimes not, and happens either on the up phase or down phase of the movement.’ Dancers might also notice decreased range of motion through the sagittal or frontal planes.”
“‘The drones also become personalities,’ he explained. ‘They become alive. They make decisions in front of your eyes, and so do the [human] performers onstage. So you get the feeling that they have artificial intelligence, that they are thinking. It’s spooky.'”
“In a recent Skype call from London on a day off, Mr. Millepied looked happy and relaxed, quick to laugh. Words tumbled out of his mouth in sometimes hard-to-follow torrents. He spoke about his constantly expanding plans, his state of mind post-Paris and his love for Los Angeles. These are edited excerpts from the conversation.”
At the Trisha Brown Dance Company, keeping her work going will “require well-versed experts to convey Ms. Brown’s precision physicality and use of gravity to enhance basic movements, such as bending, stretching and rotating. Nothing about it is simple, say her supporters, and it needs careful preservation to survive.”
“Where a classical dancer would have, in the past, said ‘no that’s not for me, I don’t want to push myself into that field or roll around on the floor in mud’, with all those things you have to be much more open.”
“A project called Mesa Musical Shadows, by Montréal’s Daily Tous Les Jours studio, is doing just that. It’s a public installation that turns a chunk of pavement in Arizona’s Mesa Arts Center into a giant game of Dance Dance Revolution that you play by moving your shadow.”
“Wearing shorts and T-shirts along with their dancing slippers, members of the army’s 25th Division are taught each week by a ballerina from the Korean National Ballet under a programme that began last year … intended to ease the stress of guarding the world’s most heavily fortified border.”
“The Quebec City-born artist has been involved with the Biennale since it first launched a dance section in 1999, participating in the initial edition and invited back several times over the years.”
“I cling to the slim hope that some human labor will always be necessary. Somebody will have to program the prima ballerina to dance. But choreography will be taught at schools like MIT. Humans will still be needed to build and repair the prima ballerina robots, unless other robots are built for the purpose of building and repairing prima ballerina robots. But even then, humans will still be needed to build and repair the robots that are built for the purpose of building and repairing prima ballerina robots, unless other robots are built for the purpose of building and repairing those robots. But even then, humans will still be needed to build and repair those robots. Right?”
“Watching Copeland dance ‘Firebird’ at the Dorothy Chandler Pavilion, we saw a wonderful ballerina come to terms with a not-so-wonderful role. To begin with, you, Mr. Ratmansky, assigned to other American Ballet Theatre dancers much of the music that Igor Stravinsky composed for her character.”
“What’s interesting about this piece more than anything for me has been — obviously, I’m not at the beginning of my career, I’m at the end of it. I’m looking at this more as an actor discovering something. It’s an amalgamation of 20 years of dancing.”
“DanceOn tapped 50 influencers in its network to create dance-based music videos for Silentó’s song, “Watch Me (Whip/Nae Nae).” In just three months, those videos gained 250 million views. It eventually propelled the official music video, which was also created with the help of DanceOn, to become the most viewed YouTube video of 2015.”
Says the ballet’s new artistic director, Makhar Vaziev, “We think we are not just any dance company but a state institution that represents Russia.” Adds Bolshoi general director Vladimir Urin, “We often refuse offers to go and dance abroad. We want to dance in Russia, that is our objective, that is what the Russian state pays us to do.”
He’s founded a company, Acosta Danza, with hald of the dancers trained in classical ballet and the other half in modern dance. (He wants to add in hip-hop and flamenco.) He’s working to keep cultural exchange and resources flowing between the island and Britain. And his biggest dream is to revive the legendary National Art Schools of Havana, built during the ’60s but then abandoned.
No, this did not happen in Florida.
“This new normal wherein everyone carries a small screen with them everywhere starts to have a grim, dystopic cast to it. It’s largely responsible for the loss of casual contact with the unfamiliar and the weird, with that which we did not choose, and—more to the point of my pet project—it doesn’t help bring anyone into contact with dance who wasn’t already interested in it. But then, surprisingly, it does; the screen also emerges as a vehicle that can introduce casual viewers to concert dance.”
“Academics from St. Mary’s University … will provide strength and conditioning, and sports science support to Royal Ballet dancers, as well as design a bespoke programme on performance and injury recovery. … A fully funded academic position will also be available as part of the collaboration.”
“There, in the back of the 19th-century theater, is a warren of workshops, just as there is any storied couture house, each dedicated to a specialty: tailoring, soft construction (known as ‘flou‘), knitwear, accessories, millinery and embroidery, as well as dyeing and painting. And as in the couture house ateliers, seamstresses cut and sew stiff linen mock-ups, called toiles, to perfect the design before cutting it in the final fabric, and produce embellishments, like handmade silk blossoms and gold braiding.”