Dance

“Last September, after nearly 30 years as the company’s artistic director, [Naharin] handed the reins to Gili Navot, a former dancer with the company, while he assumed the position of house choreographer. In that role, Mr. Naharin will continue to create new work, while Ms. Navot will be responsible for the daily decision-making and long-term direction of the company. Is this the beginning of a new era or just an administrative reorganization?” Brian Schaefer talks to them both to find out. – The New York Times

As a dancer with hemiplegia cerebral palsy, Jerron Herman has never been far from the physical therapy room — or an occupational therapist or some kind of medical interventionist. ‘I’m almost always in deep conversation with that kind of practitioner,’ says Herman, who performs with Heidi Latsky Dance. It’s part of keeping his body ready to dance — and to move throughout his daily life. Herman shared his routine with [Rachel Rizzuto].” – Dance Magazine

“A versatile choreographer whose work includes flamenco, hip-hop, classical ballet and contemporary dance pieces, … Ms. Lopez Ochoa will accept the award, which comes with a $25,000 cash prize, on June 15 at the Jacob’s Pillow season-opening gala.” – The New York Times

Part of postmodern dance’s power lay in the fact that, for all of its foreignness, it was also familiar. Here were movements taken from the street or home and performed by able but merely human bodies in intimate settings — namely at downtown galleries, lofts or the freewheeling Judson Memorial Church in Greenwich Village, either in the main sanctuary or upon the painted lines of the basement basketball court.  – The New York Times

If you live in an American city with a sizeable performing arts center, at some point you’ve probably seen ads or flyers for this touring company. Writer Jia Tolentino had never paid them much mind until her parents took her to see them as a Christmas surprise. She had to go a second time to believe what she’d seen. – The New Yorker

“Arcadian Broad, who has a national following as Orlando Ballet’s best-known dancer, will depart the company next month. The ballet company declined to renew his contract, as well as that of his fiancée, fellow dancer Taylor Sambola.” Said the company’s executive director, “We’re grateful for Arcadian’s talents, and wish him the best as he spreads his wings. Now it’s time to bring new voices, new ideas and ballets with widespread critical acclaim to Central Florida.” – Orlando Sentinel

Alumni from the academy, which began in 1972, have gone on to American Rep, City Ballet, and the National Ballet of Canada – but the university is claiming low enrollment means it’s closing time. – Louisville Courier-Journal

Oti Mabuse is one of the professional dancers on the BBC’s Strictly Come Dancing – and then she got the call to choreograph a new production of Ain’t Misbehavin’. – BBC

Oh yes, there is such a thing: it’s run by Science magazine and the American Association for the Advancement of Science. And this year’s winner, Superconductivity: The Musical! by (and starring) University of Victoria physics researcher Pramodh Senarath Yapa, is about the formation of electron pairs in metals. (You can watch all four of this year’s category winners here.) – Forbes

“The company, led by Tamara Rojo, has hired Andy Reynolds in the new role, which will see him lead a team comprising a company doctor, physiotherapist, and a masseur and acupuncturist. Reynolds joins ENB from Harlequins Rugby Club, where he was head of medical services.” – The Stage

“‘I’m going to walk through; it’s going to be so awkward,’ says BalletX artistic and executive director Christine Cox, addressing 119 auditionees and acknowledging the ever-intimidating clipboard she holds. The room bursts into laughter, and smiles linger as pliés begin.” Hannah Fox sits in on the audition. – Dance Magazine

Just in the past year, there’s been Red Sparrow, Suspiria, and Climax. “What is it about dancers that inspires filmmakers to depict them in various forms of total destruction? And, most importantly, how closely do these films hew to real life? In other words, are all dancers really just horny, deranged murderers?” Rachel Handler asks a couple of real-life dancers for the truth. – Vulture

“We want this public asset used for the maximum public benefit. Not only is there a housing crisis, there’s also a crisis in terms of us being able to preserve culture.” – KQED

“For dancers with a strictly concert background, making the transition into TV and film can feel like stepping into the unknown. The heightened speed of the rehearsals, ever-changing structure of the sets and somewhat alien nature of the cameras is enough to make even the most seasoned professional a little apprehensive. But dancers can apply the savvy they’ve learned on concert stages to on-camera opportunities.” – Dance Magazine

“We are being forced out because of lack of funding,” said Linda Andrews, the company’s artistic director, citing the withdrawal of crucial grants by the Jerome Foundation and the philanthropic arm of Target stores. “Things look like they are changing pretty dramatically amongst the funding community, and a lot of organizations are affected by that.” – The Star Tribune (Minneapolis)

Deborah Jowitt, who has been reviewing since 1964, has probably vexed fewer choreographers than most other leading critics. She speaks of Taylor tenderly (“a genius”), and with gratitude. As the subject of her first review for The Village Voice (Nov. 9, 1967), he immediately wrote her with advice: She should have more confidence in her own views and not quote a senior critic to prop herself up. – The New York Times

On Friday, March 1, 17-year-old Melissa Ziad performed a few classical dance steps in front of a large Algerian flag at a demonstration in the country’s capital city of Algiers. The steps, like her outfit – ballet shoes with jeans and leather jacket – caught people’s attention. – France24

Celebrations of Merce Cunningham’s choreography (and life) spread across the globe this year, cand horeographers who were part of his company at some point are dealing with “the anxiety of influence” as they make works for the celebrations. Four of the choreographers “spoke of Cunningham’s example as a life-changing liberation. They all spoke of gratitude and ambivalence.” – The New York Times

Last week, ballet’s perpetual problem child had his manager summon a non-dance journalist to hear him “explain his recent activity on social media” — a series of Instagram posts that basically wrecked his career. Simon Hattenstone went, and Polunin explained — in his way. And no, he doesn’t regret anything. – The Guardian

“As his work for seven dancers moves from darkness (the staid and somber Assyrian Court) to tranquility (the meditative Chinese Garden Court) and finally lightness (a bright court in the American Wing), [he] takes the audience on a journey laced with history and spirituality.” Gia Kourlas talks with New York City Ballet corps member Silas Farley about his new piece, Songs from the Spirit. – The New York Times

“We have considerably increased the marketing for our organization and have rebranded the company entirely. We have tripled our seasonal programming, created a series of special performances for young audiences and added a number of popular events.” – Arkansas Democrat-Gazette

Marcello Angelini of Tulsa Ballet: “I think the current system for ballet companies robs dancers of their edge, whereas in Broadway, you need to remain marketable all the time. When a show opens, nobody knows how long it will run, and there is always a chance you may be unemployed in a matter of weeks. The cast needs to engage their audience show in, show out, as lackluster performances may lead to reduced ticket sales and, rather quickly, the show closing.” – Dance Magazine

A placeholder image that went viral last month had bunheads worldwide worried. But it’s merely a placeholder for engineers. – Pointe

“Shot in a single-take, the [five-minute] dance routine is more than just choreographed steps. It shows off the dancers’ individual styles which include voguing, an improvisational dance form that mixes exaggerated model poses with mime-like movement; waacking, characterized by rapid arm movements; and krumping, an aggressive and emotional dance born on the streets of South L.A.” Choreographer Nina McNeely talks to a reporter about the strange ways the sequence came together. – Los Angeles Times

“In what seems to be a growing trend, regional companies are coming together to share stages and expand their audiences. These team-ups often go beyond split bills, with companies swapping choreographers and performing at least one joint work. While the logistics of co-presentations can be complicated — with more dancers to schedule, budgets to balance and creative visions to blend — the benefits can range from bigger box-office returns to lasting relationships for the artists.” – Dance Magazine