Dance

Some of them are sweet and sentimental, but they can be every bit as weird as those of actors and athletes. Sarah Kaufman talks to a dozen or so dancers from several companies about what they do and why. – The Washington Post

“In his autobiography, Taylor said he had asked Balanchine if there was any way it should be performed. His reply: ‘Is like fly in glass of milk, yes?'” City Ballet soloist Jovani Furlan learned the dance, titled Variations, from Paul Frame (who learned it from Taylor); Furlan has now taught it to, and is alternating performances with, Michael Trusnovec, long the star dancer in Taylor’s own company. Gia Kourlas interviews them both. – The New York Times

“Alberta Ballet’s longest-serving artistic director, Jean Grand-Maître, will step down after a three-year transition period that will see him passing the torch to [company ballet master] Christopher Anderson by 2022.” – Calgary Herald

“Though her work has evolved beyond the minimalist choreography that first garnered her critical notice in the 1980s, [Anne Teresa] De Keersmaeker remains a formalist. Throughout this production, she makes ingenious use of traveling wedge formations, each gang shaped loosely into a triangle with their leader at the point, as they circle, stalk, intimidate, and prepare to pounce. [Director Ivo] van Hove says that De Keersmaeker’s facility in moving groups of bodies around a stage is partly why he chose her to choreograph this musical, as it is one in which ‘groups are really important.'” – American Theatre

“Both are 69 now. As the wife and husband who founded the Los Angeles dance company in 1980, the two continue to strike the delicate balance between artist and administrator” — a job Erwin gave up his own career in journalism to do — “between ambitiously creative and cautiously pragmatic.” – Los Angeles Times

Bryant’s injury prevention routine was particularly unique—and involved taking tap classes to strengthen his ankles. (You’ve probably heard of football players taking ballet, but this one was new to us.) – Dance Magazine

It’s the first classical troupe in the world to make that choice. “‘Why not? There’s been all-men years for the past 150 years where only men choreograph,’ says Patricia Barker, the company’s artistic director, who has scheduled works by the legendary American choreographer Twyla Tharp and established New Zealand names, along with shows by up-and-coming creators.” – The Guardian (UK)

Sounds like the Tanztheater Wuppertal might not be the easiest place to run: Adolphe Binder, who was dismissed in 2018 after only a year in the job, was the fourth person to run the troupe since Bausch died in 2009. “During her brief tenure, she commissioned works from the choreographers Dimitris Papaioannou and Alan Lucien Oyen — the first full-length pieces to be created for the company since Bausch’s death. They were well received and have toured widely. But in a statement issued at the time of her dismissal, the board suggested that Ms. Binder’s managerial and organizational abilities were harmful to the functioning of the troupe.” – The New York Times

Alexa Maxwell is the girlfriend of Amar Ramasar, the dancer who was fired, and then rehired, by City Ballet for his role in sharing nude photos and videos of dancers – including Maxwell. “‘I am not a victim in this,’ the dancer, Alexa Maxwell, said in a news release. She explained that Mr. Ramasar had expressed his regret over the situation and that she had forgiven him.” (She was not, however, the only one whose images were shared without permission.) – The New York Times

Sure, there’s been a lot of buzz around this Ivan van Hove production, with new choreography by Anne Teresa De Keersmaeker. But: “There’s another buzz gathering around the show—and not because two dancers’ injuries forced the postponement of opening night from Feb. 6 to Feb. 20. It is instead the controversy over the production’s choice to cast dancer/actor Amar Ramasar as Bernardo. Ramasar was fired from New York City Ballet in 2018 for sharing aggressively lewd text messages and nude photos and videos of female company members without their consent with some of his fellow male dancers at NYCB.” – American Theatre

“I am discovering the possibility of the choreography coexisting with sound, maybe not being as dependent as I usually am. That opens a field I haven’t really explored. But I don’t have the courage to fully go there; it’s just testing how it feels. In some places the choreography is parallel, not connected, to the music.” – The New York Times

“Independent investigators are examining claims that he behaved inappropriately with Royal Ballet School students and encouraged them to send him naked photographs. … The inquiry has not concluded and it is understood that no findings have been made against Scarlett.” – The Times (UK)

It’s not just that the piece is in the final scene of Billy Elliot. A corps de ballet of muscular men as feral swans, in place of the usual ethereal women in white tutus, shows boys different, powerful images of both strong masculinity and ballet as a genre. That the production has been a success all over the world for 20-odd years helps, too. Roslyn Sulcas talks with four members of Bourne’s current company about the effect his Swan Lake had on them when they were young. – The New York Times

“Just because students are in an advanced technique level doesn’t mean they’ll feel confident moving without set steps.” To get students to explore outside their comfort zones, Alisia Pobega and Louis-Martin Charest use the lightness of open-ended games and exercises as a kind of permission for students to begin to create something independently, without the goal of technical perfection or aesthetics. – Fjord Review

“While high extensions can be very exciting, it is thought that this trend has led to an increase in injuries in the lower back, hips and ankles. Adam Sklute, artistic director of Ballet West, has noticed that dancers who are incredibly supple often have a greater lack of control. … The fact is, the more flexible you are, the more you have to work on gaining the strength to manage it.” – Dance Magazine

The digitized collection includes 8,288 black-and-white negatives, 2,106 color slides and transparencies, and 339 black-and-white prints depicting the repertory of Alvin Ailey, choreographers, and iconic solo performers the company is known for. Acquired in 2013, the collection is jointly owned by the National Museum of African American History and Culture and Alvin Ailey Dance Foundation. – Hyperallergic

Artistic director Whitley, who has worked with the Royal Ballet and performing arts company Saddler’s Wells, suggests there are “a lot of assumptions” that go with words like grime and ballet and the types of people involved in each. – BBC

Dancers and musicians have been striking alongside public sector workers to oppose the government’s plan to scrap more than 40 separate pension schemes and replace them with a single points-based system. More than 70 shows have been cancelled since December at a loss of nearly 15 million euros ($16.5 million) — greater than the state’s annual contribution to the Opera pension fund. – France24

Grime is a music style that came from London hip hop and electronic dance music – and now a grime artist, Lionness, has decided to team up with a London ballet company to “merge two worlds together.” – BBC

Sasha Waltz and Johannes Ohman had signed five-year contracts to lead the young ballet company (that was, in 2004, created as a consolidation of three opera ballets), but the protests against their tenures started early. Still, they hung in there for a while. “They aimed for a balance of classical tradition and modern dance. In the joint statement announcing their departure, they said that they believed their mission had been a success, citing healthy attendance figures and an honor from the magazine Tanz, which surveyed 25 dance journalists and named the Staatsballett its company of the year for 2019.” – The New York Times

“Researchers at InsuranceProviders.com analyzed data from the Occupational Information Network, a national organization developed through support from the U.S. Department of Labor …, to determine the 20 most physically demanding jobs in the country. They analyzed the level of strength, stamina, flexibility and coordination required for a host of jobs, and each category was assigned.” Dancer tops the list with 97 points out of 100. (Athlete came in third.) – Dance Magazine

Michelle Herman: “In that very first class, long before I had any idea what I was doing, … I had a moment of what seemed like perfect clarity: My body and my mind were working as one. And this was something I had no experience of. During the brief periods of my life when I’ve exercised — when I’ve taken up swimming or aerobics or yoga — I had always turned off my mind in order to attend to my body. That was why it was fun (when it was fun), and I wanted it to be fun — how else could I get through it? But I saw, that first day in the dance studio, that it was the work of ballet that appealed to me — the mental work, I mean.” – Slate

“According to a company press release [about the two artistic directors], Öhman is leaving to accept a directorship at Swedish contemporary dance presenter Dansens Hus. Waltz” — whose appointment was greeted with fury by the company’s dancers (though they later patched things up) — “has chosen to depart at the same time rather than become sole artistic director, though she will continue to be artistically involved with the company through 2021 as a choreographer.” – Dance Magazine

Commercial dancers — the performers who animate music videos, films and TV shows — have long needed the right look, the right connections, expertise in the most popular styles and an agency to access coveted jobs. Now, however, video and social media have democratized who can succeed in the industry. – Los Angeles Times

The company’s labor action is yet another part of the series of national protests against President Macron’s planned pension reforms. The twist is that, as we know, ballet is not like other professions (dancers’ bodies won’t hold out until age 65), and the Paris Opera Ballet’s pension system dates back to the 17th century. – Dance Magazine

The fired-then-reinstated New York City Ballet principal was a figure in the company’s recent #MeToo scandal (and accompanying lawsuit). While City Ballet’s dancers and the company of West Side Story seem willing (at least publicly) to let Ramasar redeem himself, a number of others — including lawsuit plaintiff Alexandra Waterbury — are calling on audience members to boo him until the producers fire him from the show. – The Guardian

“There’s a massive hole,” producer Lyndsay Magid Aviner said of the lack of urban dance on New York stages. Coming from the circus world, the Aviners said they believe there’s a broad audience for physical storytelling. Justin Peck’s popular 2017 work “The Times Are Racing” for New York City Ballet, danced in sneakers, convinced them that audiences would embrace the kind of work the Madrids are doing. Taking a cue from movement-based hits like “Blue Man Group,” “Stomp” and “Fuerza Bruta,” the Aviners went the for-profit route. They said they raised $200,000 for the San Diego run, then held their breath. – The New York Times

“Rianto, is a master of the Lengger Lanang, a traditional [Javanese] dance performed by men dressed as women. But Indonesia, the world’s largest Muslim country, has seen rising intolerance in recent years towards the LBGT community. And there are fears it could affect this traditional art form.” (video) – BBC

The sessions, attended by leaders from New York City Ballet, Pennsylvania Ballet, San Francisco Ballet, Pacific Northwest Ballet, Pittsburgh Ballet Theatre, and Charlotte Ballet, were held in conjunction with this past weekend’s conference of the International Association of Blacks in Dance. Reporter Ellen Dunkel sat in. – The Philadelphia Inquirer

Studying how people move to music is a powerful tool for researchers looking to understand how and why music affects us the way it does. Over the last few years, researchers at the Centre for Interdisciplinary Music Research at the University of Jyväskylä in Finland have used motion capture technology—the same kind used in Hollywood—to learn that your dance moves say a lot about you, such as how extroverted or neurotic you are, what mood you happen to be in, and even how much you empathize with other people. – Phys.org