His appointment, just two years after his first work for City Ballet, “makes him the second person to hold this position at City Ballet, after Christopher Wheeldon, who was the company’s resident choreographer from 2001 to 2008.”
“For its storied reputation of turning out some of the ballet world’s best dancers, Cuba has two equally dictatorial people to thank — Alicia Alonso and Fidel Castro. One an artist. One a political leader. Both with undeterrable personalities and a fierce commitment to their own agendas. Neither to be crossed lightly.”
“By one estimate there are now one hundred million public dancers in China, and the number is growing rapidly as the country ages. The “dancing grannies”, as they’ve been dubbed by the Chinese media, are facing an urban backlash. Younger city-dwellers see them as a nuisance, and are demanding they turn down the volume.”
“In the 12 years since [Mathew Pokoik] and his wife and co-founder, Aynsley Vandenbroucke, a New York City choreographer, bought 114 acres along an idyllic country road, Mount Tremper Arts has become a quietly thriving offshoot of the city’s contemporary performance world: a magnet for adventurous urban artists and a devoted local audience.”
“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.”