“No one knows nerves like dancers, no matter if they’re in high tops or pointe shoes. Though the rest of us may want to move like dancers and look like dancers, the performers themselves don’t always feel so enviable.”
“The art form, collectively, receives a 9.4% increase in NPO funding, upping its slice from 11 to 12%. Better yet, there are signs that ACE is formulating a strategy for building a more secure network for dance across England, brokering relationships between large and small organisations, creating links between individual companies, theatres and regional dance agencies that should give the still-fragile dance ecology a firmer base.”
“The New York Police Department is cracking down on the subway showmen who use the tight quarters of the nation’s busiest transit system as moving stages for impromptu – and illegal – pass-the-hat performances. More than 240 people have been arrested on misdemeanors related to acrobatics so far this year, compared with fewer than 40 at this time a year ago.”
“By the end of the 12 weeks, those who danced had less pain in their knees and hips and were able to walk faster, said Jean Krampe, an assistant professor of nursing at Saint Louis University and lead author of the study. The use of pain medicines fell by 39 percent among seniors in the dance group but rose 21 percent among those who did not dance, she noted.”
“Artistic director Sergei Filin, 43, has recovered from an acute allergic reaction to an eye treatment that sent him to the hospital Friday … Filin, who was nearly blinded in a 2013 acid attack, wasted no time getting back to the theater for rehearsals.” Several Russian media reports over the weekend stated that he was in critical condition.
Acosta: “In the beginning when you see Romeo and the other kids they just want to fight and joke around with harlots. … But then you witness a transformation inspired by powerful love. When I first played this role I was too young to understand that complexity.” Rojo: “I think life experience gives you things but it also takes away. It takes away naiveté. And it takes away belief.”
Passe-Partout “presents a new stage for dance that allows a user to overlay a series of one-minute pieces onto one another – there are eight solos or duets in total, though only five can be seen simultaneously – choreographed by Justin Peck for Mr. Ulbricht and himself. These layers allow for more than 40,000 permutations of dances. That’s a lot of bang for 99 cents.”
The choreographer, rehearsing a 1991work of his with the Boston Ballet, talks about the stress that led him to move away from the troupe he created in Germany after leaving Frankfurt Ballet, what will happen to the work he made for his dancers in the past decade (oblivion), and whether he will choreograph more (not yet).
“Art and dance have had a close relationship, from the Modernist flowerings of the Ballet Russes to the downtown scene in 1970s New York. … However, choreographers’ work is increasingly being incorporated into museum and gallery programmes, and as integral works rather than interruptions from a distinct artform.”
“There was a time in my 20s when I would go clubbing without fail every week and it didn’t take much to lure me on to the dancefloor. … Today I am a middle-aged, married, mortgaged, fortysomething father. My opportunities for dancing have diminished, as has my confidence.” How Sarfraz Manzoor got his groove back.
“Bounden works like this: two players hold the phone from opposite ends and guide a cursor through a sort of maze on the screen while music plays; the shape of the maze forces the players to twist, spin, and loop around and under each other, as in a dance. The underlying choreography was developed by Ernst Meisner of the Dutch National Ballet, and the app contains videos of company members performing the finished dances.”
“Two years ago, the Indonesian performance artist Melati Suryodarmo gained YouTube notoriety when a version of her Exergie — butter dance was posted to the website. Originally accompanied by Indonesian drum percussion, the reworked clip set [her] performance of a traditional Indonesian-inspired dance on 20 blocks of melting butter to Adele’s ‘Someone Like You’.”
“Classical ballet is already getting smaller and smaller. I hope that it is not going to disappear. But what I see around me is a lot of choreographers who are destroying the classics. I wish that instead of doing Sleeping Beauty in some crazy new way, they would just go and invent their own full-length ballet story.”