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FEBRUARY 2000
SACRED
GROUND? Frederick Ashton created his ballet "Marguerite and Armand" for
Margot Fonteyn and Rudolf Nureyev, and wherever danced it, "people saw the love
story not only of the courtesan Marguerite and the hopeful young Armand, but
also (they fancied) of Margot and Rudi themselves." The piece was so identified
with the couple that when they gave their final performance of it in 1977 - when
Fonteyn was 58 - it was unthinkable that anyone else could ever dance it. And
now the Royal Ballet has announced a new production. London Telegraph 02/27/00
DANCE FOR THE 21ST C:
Judith Jamison"s Alvin Ailey dance company is one of the dance world's
commercial as well as artistic successes. In a year of accolades (and Jamison's
tenth anniversary at the head of the company) a moment of reflection.
Chicago Tribune
02/27/00
MERCY
KILLING: Another Dallas dance company finally throws in the towel,
disbanding after 20 years. Dallas Morning News 02/27/00
REBEL
CAUSE: Choreographer Bill T. Jones pulls out of planned performances at this
summer's Spoleto Festival in South Carolina to protest flying of Confederate
flag. Washington Post
02/23/00
ALL
THAT BALLET: "Fosse" celebrates dance on Broadway. Is it any surprise that
ballet dancers are wanting in on the action? New York Times 02/20/00 (one-time
registration required for entry)
CANADA'S
NATIONAL BALLET settles contract with its musicians only hours before the
orchestra was to go on strike. CBC 02/16/00
THE OLD NEW THING: Sure the
dance critic's getting old, but "the really strange thing about contemporary
avant-garde art is that most of it could have been created at any time since the
twenties. Yet actually in the twenties, avant-garde artists were doing things
that had really never been done before." Dance Magazine 02/00
DOUBTS
AND DREAMS: Choreographer Bill T. Jones kept a journal as he was creating
his latest dance piece - a product of doubts and failures as much as
possibility. New York Times 02/13/00
(one-time registration required
for access)
COLOR ME
DANCE: "The notion of otherness implicit in the term "black dance" insures
that it has remained a loaded and highly controversial concept a good two
decades or more after it was coined. Is black dance work created by artists who
happen to be black? Is dance "black" because it draws from black Caribbean or
West African cultural forms and traditions or black American social history?"
New York Times
02/06/00 (one-time registration required for entry)
DISC-DANCING: CD-ROM and some
inexpensive equipment is changing the way choreographers create their work. And
how their work gets chosen for performance. Dance Magazine (first item) 02/00
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