When A Career Cunningham Dancer Gets His Own Company

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“After the Merce Cunningham Dance Company disbanded in 2011, Robert Swinston, who was with the troupe for more than 30 years, did just that. He began again” – in France,”where he now directs the National Contemporary Dance Center in Angers and is also the artistic director of Compagnie CNDC-Angers.”

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Is School Failing Dancers? (It Depends On What You Think School Is For)

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“In a world of slash careers, where we easily understand the lawyer/journalist or physician/entrepreneur, why are we dancers or something else? Why would someone be thought of as a failure if they are a dancer/college professor or a strategic planner/choreographer? If they are happy, who is anyone to judge? Our foremothers and forefathers in the field were teachers/dancers/choreographers. Why are we trying to make excuses for the very inner-workings of the field?”

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What’s The Purpose Of Dance School Again?

Harlem Dance Theatre

“The purpose of the university dance program is to offer students the opportunity to participate in a deep and profound process of creating, performing, responding to, and connecting from the practice of an art form. Dance takes them into the life of arts-informed human beings; people who live not at the margins of the world, but lead the way, by example, to full, proactive, creative, disciplined, empathic, and imaginative lives.”

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Male Belly Dancers Make A Comeback In Istanbul

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“Dressed in skirts decorated with coins and shimmering tassels, male belly dancers are back in vogue, jerking their hips and trembling their abs to hypnotic Turkish rhythms. Known as zennes, the performers were once a mainstay at the courts of Ottoman sultans, but they have been largely out of sight for decades. Their renewed popularity comes amid a broader revival of Ottoman-era culture that has spread to television, fashion and politics.” (includes video)

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The Ballet Dancers Were Born After Balanchine Died, But They Try To Keep His Flame Alive

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“Balanchine knew how quickly his ballerinas could lose details he taught. He used to tell them, ‘If I go away for a weekend, and I come back, I see the difference. If I’m away for two weeks, other people start to see it. If I’m away for a month, everybody sees it.’
“‘And so – it’s been more than 30 years,” Ashley said.”

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Ballet San Jose Warns It Might Have To Shut Down

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“Ballet officials quietly began a fundraising drive in January and have thus far tallied half a million dollars. Now they must match that figure to keep the company afloat. Company officials also estimate they will need to have raised $3.5 million by October to be able to fully reinvent the company’s business model and ensure its long-term stability.”

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The San Jose Ballet Problem

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“You might think of Silicon Valley as awash in youthful exuberance and money, enough to keep a medium-size ballet company afloat. Indeed, the challenge of getting young techies excited about works by Twyla Tharp, Jerome Robbins and George Balanchine was what lured Jose Manuel Carreno, 46, to San Jose.”

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David Hallberg Pulls Out Of ABT Spring Season

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“David Hallberg, the American Ballet Theater principal dancer, is injured and will not perform during the company’s Metropolitan Opera House season … Mr. Hallberg, who is also a principal dancer with the Bolshoi Ballet, had foot surgery last fall.”

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Burlesque Dancer Fired For Being Too Curvy, Sparks Online Uprising

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When the Bourbon Street burlesque club Lucky Pierre’s dismissed performer Ruby Rage – over the objections of the show’s producer – “word spread quickly and social media did what it does best, dumping voluminous righteous outrage on every conceivable target: the club, its owners, its employees, [producer] Bella Blue, the traditions of burlesque itself.”

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Here’s What It’s Like To Run NY City Ballet

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“I think the thing that’s changed the most over the years is that it just becomes more and more and more difficult to sustain organizations and to sustain the art itself. The funding climate has changed over the years: it’s much more difficult and much more competitive. And the nature of the audience has changed as well. There is just so much more competition for people’s time especially with what’s available online, in new media, and on demand.”

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Carlos Acosta Says Dance Education Should Be Free

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“[Dance education] should not have a cost or price. … When you put a price on [access], then you divide into two camps those who can and those who cannot. In the camp of those who cannot I bet there is a lot of talent there, a lot of Nureyev … I think we should demand at the highest level that these things should happen. It is a fight to take to the government.”

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The Great Dissident Soviet Choreographer You’ve Never Heard Of

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“How miraculous that amid all that suffocating tulle, a ballet flame-thrower named Leonid Yakobson emerged. … Dancers hungry for a challenge loved the odd body shapes, sexiness and wit of his choreography. Among his disciples were the young Natalia Makarova and Mikhail Baryshnikov” as well as Maya Plisetskaya. Even Richard Nixon was a fan.

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Heart Of A Ballet Superstar: Wendy Whelan At 47

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“She was, and is, longer than most. More angular. Like calligraphy, critics said. And that’s just the start. They go crazy for her work ethic. Her astounding strength. Her rapturous, incandescent spirituality. So have choreographers. … Last fall, at 47, Whelan left the New York City Ballet. But she’s still dancing.” (audio; includes video clips)

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Death Of A Dancer – How To Prepare?

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“So how does one plan for a tragedy? You really can’t. You plan for your organization’s response to one. That is to say, put in place the information, guidelines, training, and materials needed to help company leadership and staff deal with a most difficult and often chaotic time.”

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The Power Of The #Ballet Hashtag

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“Ballet is easily the most photogenic of the sports. An art form that toes the line between performance and feats of athleticism, it’s filled with pirouettes and arabesques that when frozen in a frame appear like paintings or perfectly sculpted statues.”

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“Unscrambling An Egg” – Can A Dance Work Be Edited?

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Judith Mackrell: “A couple of months ago I asked whether choreographers need editors and whether dance, like literature, might benefit from having some kind of inbuilt system of feedback, comment and control. It became clear that this was a question that others were asking. And a few weeks later, it was taken up by Rambert in their offer of a public debate.”

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