The purchase was funded by the sale of visual art by some of Petronio’s famous collaborators.
Joel Kioko “grew up in Nairobi’s Kuwinda slum and took his first dance class five years ago in a public school classroom, with bare walls, no barre and no mirror, the desks and chairs pushed outside.”
“Literally meaning ‘whipped’ or ‘whisked,’ the move is comprised of 32 consecutive turns on one pointed foot. If it sounds impossible, it’s because it almost is. So much so, that this video has been made to explain the physics of it.”
A visit to the dance classes that the popular British company Ballet Boyz offers for patients with the neurological disorder.
“Last school year, 31 boys attended Peabody Dance (which can cost thousands a semester) tuition-free, breathing new energy and life into the mirrored-walled studios and bringing economic, racial, and social diversity to a world that ‘hasn’t always been that way’.”
In fact, he’s wanted to do it for as long as he’s had his own company. “Virtually every project I have undertaken in my career has had this potential problem attached to it,” he says. “Much-loved pieces that you touch at your peril!”
In a smart, arts-focused campaign that’s gone viral, the ballerinas use photos and video to show off the ancient city in a new way.
From the fall of 1972 to December 1980, the Austin Ballet Theatre appeared monthly at the now-legendary Armadillo World Headquarters. The cover charge ran from $1 to $3; beer was ¢35.
Shamel Pitts had spent seven years with Batsheva, Israel’s most famous dance company, when he created a solo work to a spoken-word soundtrack he assembled and recorded himself. A director friend of his filmed the work, and now Pitts is back in New York, touring the film and live show around the Western Hemisphere.
“Ticket discounter Goldstar said Wednesday that Colorado Ballet’s production of the Christmas staple was voted the best by Goldstar members who rate and review “The Nutcracker” shows they recently attended. Previous winners include the Debbie Allen Dance Academy, Boston Ballet and The Joffrey Ballet.”
A Q&A with choreographer Ryan Heffington, who created “the Movements” with magical powers for the series The OA.
“He’d set off on the cross-country journey soon after getting the call from Julie Kent, the Washington Ballet’s newly arrived artistic director, who offered him his first big commission as a choreographer.”
“According to AP, ensembles in Ohio, Rhode Island, Connecticut, Massachusetts, Illinois, Missouri, Alabama, New York, and New Hampshire sent costumes and props to Providence, charging only minimal fees for shipping, warehouse restocking, and costume cleaning.”
“The thing Copeland is most vocal about is the lack of diversity in ballet. But being in Cuba was a moment to not stand out. Copeland was surrounded in brown diversity.”
He took dance lessons in secret, was beaten by his father when he was discovered, and persisted – dancing among ruins in Damascus, practicing on the roof of his building while gun battles erupted nearby, letting a Dutch team film him. Now Ahmad Joudeh is about to make his debut in Coppelia with the Dutch National Ballet.
A reporter gets a peek into the world of ballet production. “Before the first performance, the party guests lined up in the wings to make our walk across the stage. A couple of young girls in mouse costumes asked me how I felt, if I was nervous. ‘Not really,’ I said. ‘The show isn’t really about me. It’s about you guys.’ They beamed.”
They shut down the exit ramp connecting the 105 and the 110 for two days to film the scene: “Six months of planning, 30 dancers, 100 extras, and at least 60 cars later, the opening number from La La Land, ‘Another Day of Sun,’ is a triumphant masterpiece that has critics swooning and audiences immediately adding it to the canon of great production numbers from movie musicals.”
Lissa Curtis’ instructor assaulted her on a plane and in Romania – but the FBI can only prosecute the plane portion. Now, she “advocates on behalf of survivors through her ballet, even as that very art triggers her severe PTSD and pushes her to her mental and emotional limits. ‘I feel as though I live with a ticking time bomb inside my chest,’ Curtis says.”
Last month we told you about an updated version of this work with choreography by Karole Armitage. Here’s video of a 1970s attempt at reconstructing the original.
Marina Harss talks with Reggie Wilson, “who has been described as a kind of cultural anthropologist working in dance. [His] creations develop out of personal obsessions that lead to years of reading and research trips before he even sets foot in the studio.”
“Reggie Gray stood in the wings at BRIC House ballroom in Fort Greene, Brooklyn, one recent Sunday evening and watched, along with a full audience, as waves of dancers took the stage to do battle. Their moves were at turns staggering contortions and graceful glides, sweeping artistry and fleeting chronicles of everyday life.”
“For [director Damien] Chazelle, it took time to find the right choreographer. ‘We needed someone who was comfortable with modern dance forms and popular dancing, but also either came from or had experience in the ballet world,’ he said. He also wanted someone who appreciated Fred Astaire and Ginger Rogers … ‘We needed someone who had experience with cameras,’ he continued, ‘and who had experience with nonprofessional dancers. Mandy Moore wound up being that one person.'”
The L.A. Times buries the lede in a story about a collaboration between Millepied’s L.A. Dance Project and Rufus Wainwright: “Both men, too, are at a crossroads between their present and past. Millepied said this performance will likely be his last time dancing.”
“In the 1940s, Argentina was tango and tango was Argentina. … Then, two disparate but hugely impactful things arrived: a series of military dictatorships and rock ‘n’ roll. While in opposition in every other respect, the [juntas] and the new music genre inadvertently collaborated in dethroning tango and driving it to near-oblivion.”
A gift the organizations didn’t expect or look for, from a patron who had attended many private ballet functions and climbed the Great Wall with the dancers when they went to China, surprises – and helps – the Sacramento Ballet .
Kurosawa lived in New York in the early 1980s and was deeply influenced by that city’s experimental dance scene. “She was rebelliously devoted to dance; the trappings of fame or popularity were antithetical to her approach.”
Filmmaker and writer Merete Mueller introduces her 7½-minute documentary about Roslyn Mays and the workshops she teaches. (video)
“Contemporary dance company Rambert has announced an artistic development partnership with the Dutch National Ballet to nurture choreographers and composers from both companies. The partnership will begin with a joint programme of exchange between both companies and the artists working within them.”
Gennadi Nedvigin trained at the Bolshoi and had a 19-year dance career at San Francisco Ballet; Atlanta Ballet has lately been concentrating on contemporary works. Nedvigin will be implementing the ultra-classicist Vaganova Method, developed at and for the Mariinsky Ballet.
Marina Harss looks at the special qualities of this first star part for young male dancers, and she talks to a 12-year-old who’s sharing the role at New York City Ballet this year.