“Not even its organizers had completely believed this particular dance would take place, and disaster was still quite possible. Forbidding American college students to dance rarely seems like a tenable position, but up to the very day it was scheduled, administrators at the university felt they had not only public opinion but also the law on their side in blocking it. These students didn’t merely want to dance.”
“He has decided to spend more time in the studio, making new ballets and working with dancers, he said. ‘Over the last few years, many of my works have been performed outside the Washington Ballet, and I’ve been turning down projects,’ he said.”
Sara Baras: “It takes courage, but flamenco artists often have longer careers than other kinds of dancers. They learn to adapt themselves to a type of exercise that develops extra agility and vigour. Older flamenco dancers can perform with a strength that you will not find in other dance genres.”
Aurélie Dupont has spent her entire education and career at the company and its school; she retired from the stage last summer at the top rank of étoile.
Adolphe Binder, currently artistic director of the dance company at the Gothenburg Opera in Sweden, “will be the fourth person to run the Tanztheater Wuppertal since Bausch’s sudden death in 2009. “Unlike Dominique Mercy and Robert Sturm, who ran the company just after Ms. Bausch’s death, and Lutz Förster, who succeeded them in 2013, Ms. Binder has no direct relationship with Wuppertal.”
“‘I want to regain my freedom and I want to create,’ he said. ‘I’ve been honored to be given the opportunity to work at the Opera and with the dancers, but this job, as it exists today, is not something I want.’ Mr. Millepied declined to speak about other factors that might have contributed to his decision, but his discontent with various aspects of his role has been well documented over the past few months.”
“Benjamin Millepied — who is married to Hollywood star Natalie Portman — took over France’s most prestigious ballet company little more than a year ago, bringing a dash of glamour to one of the capital’s most venerable institutions. He had been due to unveil his new season next week, but it was clear that all was not well after he lambasted the ballet’s hierarchical structure in a French television documentary.”
At minimum, ballet fitness classes are turning out pupils with respect for the professionals.
Eight principal dancers – including Daria Klimentová, Steven McRae, Cynthia Harvey, James Whiteside, and Vito Mazzeo – from some of the world’s top companies talk about coping with the damage their profession inflicts on their bodies.
“Colin Connor, a former soloist with Limón Dance Company who went on to a career in choreography and education, … [and will be] the first male director since Limón himself, is to take the helm of the 70-year-old modern dance company on July 1, succeeding Carla Maxwell, who has held the position since 1978.”
“In Uropa – An asylum-seekers’ ballet, six migrants tell their stories with the help of dancers from the Royal Danish Ballet, hoping to change perceptions of refugees in a country that has recently rolled out some of Europe’s strictest asylum rules.” But some of those six could yet see their own applications rejected – the original lineup numbered ten.
In dancer and choreographer Dada Masilo’s version, “her Odette is married off to Siegfried, who is in love with Odile. The catch: Odile is a man, although Ms. Masilo has him dance on point and, like all the swans, wear a tutu. The three principal characters are victims of social convention. As in the original ballet, it doesn’t end happily.”
The Most Incredible Thing, based on a Hans Christian Andersen tale, has a new score by Bryce Dessner and a cast of 56.
“His manner was the same whether he was working with one dancer or dozens. By slightly lowering or raising his voice, he could shift seamlessly from giving a dancer a subtle note to rearranging major traffic patterns. He seemed aware of everything, and when the dancers took five, he did not, his mind whirring almost visibly.”
“‘We found that in the learning process, our brain function makes an inverted ‘U’ learning pattern from a slow pace at the start, accelerating to a peak at the midpoint, before returning to the original pace, once we have mastered the task,’ says DeSouza.”
“It’s very important, especially in Denmark, where a lot of people are afraid of asylum seekers and refugees. I think it’s very important to see that they are human beings and they have all kind of skills and qualifications.”
Tap dance today is as marginal to popular culture in America as it was in 1960. Why has so delightful and exhilarating a dance style as tap been so resistant to revival?
“Yvonne Chouteau, one of the ‘Five Moons,’ as they were anointed, died this past Sunday at the age of 86. Along with Moscelyne Larkin (Shawnee, 1925–2012), Rosella Hightower (Choctaw, 1920–2008), Marjorie Tallchief (Osage, b. 1926), and, most famously, Maria Tallchief (Osage, 1925–2013), she rose in the ranks of dance when ballet was still not widely appreciated in this country.”
“A King County Superior Court judge has ruled that Sound Transit may pay fair-market value for a ballet school in the route of the planned East Link light rail in Bellevue and not the higher replacement value the school sought.”
Following the October departure of Makhar Vaziev for the Bolshoi Ballet, the Milan opera house has selected Mauro Bigonzetti to head the troupe. Bigonzetti was artistic director (1997-2008) and subsequently principal choreographer of Aterballetto, which concentrates on contemporary repertoire and was Italy’s first ballet company independent of an opera house. (in Italian; Google Translate version here)
“There are 10 girls in the class. They’re dressed in oversized tutus with sequined trim, baggy pink tights, and pink ballet slippers. Watching my daughters, I take in these small details. But my thoughts are stuck on something else: Eight of the 10 girls, including the teacher, are white. My daughters (ages 3 and 5) are black.”
Earlier this month, Khan told an interviewer, “I don’t want to say we should have more female choreographers for the sake of having more female choreographers.” Says the open letter in response, “We do not live in a meritocracy – all the data proves this. The way in which we ascribe merit is itself socially constructed and gendered.”
“I would hope that the work I have done throughout my career to help support anyone with talent would demonstrate to those that don’t know me well, and to my colleagues in the dance industry that do know me, that “those comments are simply not where my heart lies.”
“The Pacific Northwest Ballet’s Eastside school features studios framed in soaring glass and steel, ‘floating’ floors to absorb dancers’ leaps and pirouettes, expanses of mirrors, and barres to give even the youngest girls in leotards the surroundings of a professional ballerina. But the industrial warehouse building the ballet has so carefully transformed is directly in the path of Sound Transit’s East Link route through Bellevue.”
“Some small, short-term studies that suggest dance might improve some of those symptoms, especially ease of walking. But Leventhal says the class was never intended as just physical therapy. ‘There’s also an artistic quality,” he says, “where we’re hoping people are able to say something with those gestures.’ This is particularly relevant to people with Parkinson’s, who start to lose their expressive ability.”
“For dance companies that seek to exist beyond their founding choreographer, there is the inevitable conundrum. How does a company exist without new works? The Merce Cunningham Dance Company disbanded when faced with that prospect; others, like the Martha Graham Dance Company, evolved into repertory groups. But the Brown company, which has seven members, is trying something different: remounting Ms. Brown’s works in site-specific locations all over the world.”
On Sunday, the International Association of Blacks in Dance “is holding auditions for minority women seeking contracts with American companies – the group’s first such event. Ballet Memphis, Pennsylvania Ballet, San Francisco Ballet and Washington Ballet, among others, are sending representatives.” Here’s a Q&A with IABD chair Denise Saunders Thompson about the project.
But you remember his work if you’ve seen Gentlemen Prefer Blondes. And Jack Cole’s dances “are often the most compelling reason to revisit movies like Down to Earth, On the Riviera and The I Don’t Care Girl. … It’s hard not to be drawn in – and sometimes taken aback – by the vitality and sexual exuberance of Cole’s dance numbers.”
“Perhaps the most unlikely pairing in live performance has become a Sunday night favorite of [the hipster mecca] – and it’s starting to spread across the US. Our correspondent visits Devil’s Point Strip Club, originator of the trend.”
“Will the show take a page from the success of the expansion of Fox’s MasterChef with MasterChef Junior and switch to younger dancers?”