Dance

With Misty Copeland On Board, Broadway’s ‘On The Town’ More Than Doubles Its Box Office Take

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“The first African-American woman to be named a principal in the 75-year history of American Ballet Theater provided a jolt to On the Town during her first week in the musical. The show, which is closing on Sunday, immediately went from a laggard to a leader: It grossed $914,434 in the week that ended Sunday, up from $395,379 the week before.”

Lucinda Childs Revives Her Legendary 1983 Collaboration With Frank Gehry And John Adams

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The choreographer originally created Available Light, now seen as a Minimalist milestone in both dance and music, as a site-specific piece for Gehry’s Temporary Contemporary at Los Angeles’s Museum of Contemporary Art. This past spring at MASS MoCA, she and Gehry revised Available Light for a proscenium stage; the work was just presented in Berlin and (finally!) makes its East Coast premiere this week at the Philly Fringe Festival.

International Ballet Festival Of Miami Turns 20

International Ballet Festival of Miami turns 20

“Festival founder and director Pedro Pablo Peña emphasizes the daunting nature of his enterprise. ‘Fulfilling my dream of bringing ballet from all over the world to Miami has been a task worthy of Don Quixote,’ he says in Spanish. ‘It’s taken quite a bit of inspired madness.'”

A Dance Critic Takes On ‘So You Think You Can Dance’

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“While I may be impressed by the calibre of these performances, being ‘impressed’ has little to do with what I expect or want from dance. Imagine if critical engagement with literature centred on its ability to impress, rather than its ability to provoke thought and feeling, to trouble and inspire, to mitigate the disjuncture between our conscious and unconscious minds. The demotion in richness, in complexity of experience, would be self-evident.”

A Major New Dance School Rises In Los Angeles

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The Kaufman school, which started classes this week, is unusual in embedding a conservatory-style bachelor of fine arts program within a private research university of some academic rigor. It’s also distinctive in curricular focus; its motto — “the New Movement” — connotes revolution, and Jody Gates speaks of “reimagining dance education for the 21st century.”

*Now* She’s Really Arrived: Misty Copeland Gets A ’60 Minutes’ Segment

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“If there is such a thing as the wrong side of the tracks, that’s where Misty Copeland grew up. She, her divorced mother and five siblings moved around like nomads. Down on their luck, they ended up here at this motel on a busy street in Gardena, California — the whole family piled into two rooms. She hadn’t been back in almost two decades until she returned with us.” (script plus video extras)

Ballet Still Has A Boy Shortage

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“‘Programs fight to get boys to come to their programs and offer them incredible financial packages, just to come to their summer workshops,’ Madonia says. ‘They might get full tuition. In many places, they get housing. Sometimes they even provide transportation, a stipend, a living expense.'”

Ballet Down On The Farm

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“You’ve heard of farm-to-table, surely. Vermont is now one step ahead, with Farm to Ballet, a series of performances across the state this month. It’s the brainchild of Natch Pregger, a professional dancer who has performed with the Boston, Washington, D.C. and Houston ballets. As a native Vermonter, he wanted to create a performance piece around the state’s bucolic rhythms.”

It Costs $100,000 To Train A Ballerina

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“To understand what it takes to become a professional ballerina, I wanted to find out how much the required ballet training really costs. There are many factors that go into the cost of training, and when I totaled the core expenses, I found that a pre-professional ballet education for girls can easily amount to a total of more than a hundred thousand dollars.”

Ballet Life, Unfiltered And Uploaded To Instagram

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“Ballet is, in many ways, a superhuman art form, but it’s important to remember that dancers are still human. … With Instagram, dancers have found a way to break through the tulle and tiaras by presenting backstage life on their terms.”

The Death Of The American Dance Critic

Death Of The American Dance Critic

“Today there are only two full-time dance critics in the country … For a medium that can be difficult to understand, generalist coverage remains vital to the accessibility of the dance scene. As Deborah Jowitt, the former Village Voice critic, put it: ‘If art is valuable as a reflection – of a time, of a place, of a creation – then dance is just as important as literature or film, even though the audience for it is smaller.”

You Can Never Be Too Old For Ballet

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“Just as gardening is not just a means to fresh air and purposeful exercise (but also produces the delights of a garden), so ballet for old people is no merely useful in strengthening muscles or regaining suppleness. It adds a new character to its practitioners’ hundred other accomplishments. Forget the tutus and pumps; ballet begins inside.”

Morris Dancers In Mass Bar Brawl With Blind Soccer Team

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“The footballers were enjoying a match on the village green at Rattlesden, near Stowmarket, using a ball with a bell in it so they could keep up with play. … A player kicked the ball off the pitch towards the Brewers Arms, and then mistook the morris dancers’ uniform bells for the one in the ball. He promptly kicked one of the dancers in the shin” – and so it began. – Hugh Dunnett?

Why Does So Much New Dance Have So Little To Do With Dance?

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It’s an interesting reflection on something – either an overwhelming trend in Toronto’s contemporary dance scene or dance-curator Amelia Ehrhardt’s taste – that the choreography (so far) has been so sparse on actual “dance.” I use the term a bit loosely; I don’t mean to imply that text and pedestrian movement can’t fall under dance’s domain. But it’s surprising to see that so many young choreographers are more interested in breaking down barriers between forms than they are in finding innovations that exploit the singularity of their own.