“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?”
“The work is very theatrical, but we don’t have any acting classes – we never did. We’re not actors. Pina put us in situations where people might feel we were acting, but we’re not. We might have been talking about something that happened to us, and she put it on stage.”
When choreographer My-Linh Le saw some turf dancers from Oakland on the BART train, “she wanted to take them off the train and put them on stage, with ballet dancers she recruited from the Alonzo King Lines School.” And she did. “But the creative process turned out to be more difficult than anyone anticipated.” (includes video)
Luke Jennings: “In saying that we should not have more female choreographers ‘for the sake of having more female choreographers’, you are choosing to disregard a gender imbalance so egregious, and of such long standing, that it shames the British dance establishment.”
“The work — part of the NYCB winter season’s Artist Series — hopes to stun audiences with a madcap display of agile dance moves, paired with costumes resembling an antiqued, intergalactic take on Dr. Seuss.”
“It isn’t easy for aspiring music stars to stand out from the pack, but Daryon Simmons has a gift that record labels covet in the Internet era: The 20-year-old performer can start a dance craze.”
Christopher Wheeldon on making Shakespeare into ballet: “If you knock away the language and boil it down to the bare essence, there is a really a great story there.”
“A young African-American woman from working-class roots knocking down obstacles in an old system, while broadening ballet’s mass appeal, makes for a pretty fantastic, ennobling story. But it’s a complicated story that requires digging deep into uncomfortable questions about ballet’s rigid aesthetic standards and the economics and availability of training.”
“It is important to recognise that there is an imbalance, but there was an imbalance before for male choreographers. Pina Bausch, Martha Graham – the godmothers of contemporary dance – they were the big figures before, but for this generation it is slightly different.”
“Most accompanists fall into working with dancers by chance, as a way to make extra money. And the truth is, there isn’t much recognition of their skills outside of the profession.”
“The first time I danced Juliet I was 19 and it was perfect for me because I believed everything that she believed in. I believed that true love was more important than social convention and that it was worth fighting, and dying, for. That changes over the years. It becomes difficult to be Juliet when you’re not in a moment in your life when you believe this anymore.”
Vidya Patel, a kathak dancer from Birmingham who made the finals of last year’s BBC Young Dancer competition, talks about studying the art form in England, continuing to train with her guru, and working with contemporary dancers on a new piece by Richard Alston.
“I am ageing here [points to head] much quicker than in my body. I’m terrified that in a simple movement my body will give in and I won’t be able to do it. I can do it, and can do it really fast, but it’s psychological.”
Reports all over European media last week said that Ek, 70, would both stop creating new dances and withdraw rights to perform all his previous works. He says that the hiatus is only temporary.
“Having joined Lincoln Center in 2007, Kara Medoff Barnett is currently the managing director for Lincoln Center International, which provides consulting services in planning, building and running performing-arts centers around the world. It also offers arts-management training.”
Exactly two months after the company’s headquarters and school finished a major renovation, eight feet of water “tore through the building, smashing windows, destroying the newly installed floors, technology, music books, costumes, photos – everything.”
Pamela Tatge has served as the director of the Center for the Arts at Wesleyan University in Middletown, Conn., overseeing programming and artistic initiatives for dance, music, theater, and the visual arts.
Paul Kelly, the former vice president of corporate affairs at Asda, diverted £180,000 from the chain’s charitable foundation – money intended for flood victims – to dancer David Murley’s troupe.
“There are a few drawbacks. Ballroom dancing is still a very individual couple sport, and your progression isn’t tied to your team. In that sense, I don’t think there’s as much of a collective sense of doing well or not, compared to, say, football or basketball.”
“‘My dream is to have children all over Australia enjoy the beautiful art of classical ballet and have access to quality tuition,’ Ms Woodberry said. The classes are filmed at her Melbourne studio once a month and then sent via email to students across the country.”
“Her appointment comes with the retirement in April of the current artistic director, Franco De Vita, who became the school’s principal in 2005 before taking on the directorship in 2013.” Harvey danced with ABT for 20 years before retiring in 1996.
“For its 30th Anniversary Season, Miami City Ballet asked members from every rank of its international, 51-member company to tell their stories; what inspired them to dance, and what motivated them to devote their lives to this incredible physical and artistic discipline.” (video)
“[Jewish folk dance is] the DNA of my dance education. I have been to Orthodox weddings. I know how it looks like, how it has to feel. I didn’t have to research. My life is the research.” As for most of Robbins’s original, “for my taste, it was not energetic enough.”
The choreographer Stephen Petronio, who is beginning a $3 million fund-raising campaign to establish a choreographic residency program in Pawling, N.Y., announced Thursday that he had received a lead gift from the artist Anish Kapoor, who donated a sculpture that is expected to fetch $1 million in a private sale.
“Rambert, which turns 90 this year, has discovered many of Britain’s leading choreographers, taken a long journey from the notoriously tiny Mercury Theatre to shiny new premises on London’s South Bank, and transformed itself from a ballet troupe into the UK’s flagship contemporary company.”
“It has already transformed itself from a dance school in Rockville, Md., to an organization with ambition to present contemporary dance and help choreographers develop new works. Now American Dance Institute is moving north: It announced on Tuesday that it would build a new headquarters at a former lumberyard in Catskill, N.Y.”