The participating cohort organizations are 20 major ballet companies and one school: American Ballet Theatre, Atlanta Ballet, Ballet Austin, Ballet Memphis, Boston Ballet, Charlotte Ballet, Cincinnati Ballet, Dance Theatre of Harlem, Miami City Ballet, Nashville Ballet, National Ballet of Canada, New York City Ballet, Oregon Ballet Theatre, Pacific Northwest Ballet, Pennsylvania Ballet, Pittsburgh Ballet Theatre, Richmond Ballet, San Francisco Ballet, School of American Ballet, Texas Ballet Theater and The Joffrey Ballet.
In its court filing, dated Aug. 31, the BSO argued that Rowe and Ferrillo’s work are not comparable, stating that “the flute and the oboe are not comparable instruments, nor are they treated as such by most major orchestras in the United States.” It added that “each instrument has its own pay scale at leading orchestras around the country, including the BSO.”
For its first five seasons, the Ubuntu Theater Project in Oakland sold tickets at $15 to $45 a seat, with some pay-what-you-wish seats available for low-income audience members at the door. “But all that wasn’t inclusive — or radical — enough for Ubuntu. So last summer, the theatre adopted a pay-as-you-can subscription model, guaranteeing tickets to its seven shows for a single amount named by the ticketholder.” Says marketing director Simone Finney, “This is what we’re about as a company, and if we were gonna fail, we should fail on things that are ideologically exciting.”
In the wake of #OscarsSoWhite, #BlackLivesMatter, and discussions of gentrification and cultural appropriation, issues of museum diversity, or lack thereof, has become increasingly common.
Inkoo Kang, responding to Wesley Morris’s essay “The Morality Wars”: “Whoever they are — lefty tweeters, emerging critics, the thinkpiece industry, or millennials and Gen Z at large — I’m probably a member. But I don’t recognize the collapse of nuanced debate that Morris presents. In part that’s because the generational shift Morris posits feels simplistic, given its lack of generosity toward these rabble-rousers.”
Spotify speaks to this silent majority of music fans. Audiophiles, object fetishists, anti-capitalists, musicians – these groups noisily protest Spotify, but are marginal compared with the number of ordinary listeners, who never read the liner notes in the first place. For many people, music is just for mood, something to work, exercise or have sex to – situations that Spotify usefully caters to with playlists such as Productive Morning, Extreme Metal Workout and 90s Baby Makers.
“As I became the dancer I became I was lucky enough to start to widen you know at a certain point and I started being the arts guy in the room in a room of you know many things I would get to go to conferences or you know what have you and talk about the role of the arts in society and in an aspirational way as well as a realistic way. And it grew out of so many things that I believed in benefited me coming to a place like New York and ending up at Lincoln Center and understanding the history of Lincoln Center and how that’s wedded to the history of New York City itself. So I started engaging about that particularly on the obvious touch points education for instance whereas the arts in education someone like myself benefited so greatly from having a culturally mature age.”
Increasingly, this is looking like a marketing masterstroke. The latest is data Foursquare shared with Yahoo Finance, in which the location tech platform measured the difference in Nike store foot traffic between the week after Labor Day (September 4-10) and the week before Labor Day (August 21-27), then compared it to the same period in 2017, and found that overall foot traffic to 242 Nike stores in the U.S. went up by an average of 16.9%.
With roots in Black Twitter, cancel culture is an unavoidable mainstay of our infotainment age. In an era of too much everything—TV, opinions, news—we’ve come to rely on a vocabulary of consolidation: likes, tweets, emoji. Cancel culture is one of these argots—a governor, a self-regulatory device I have come to wield with pride (if infrequent recklessness). In the collective, the gesture is absolute: we can’t. We’re done. And so we asphyxiate support from a notable cause or figure.
“The doctor didn’t know to what degree the hip injury was when I went into the surgery. And a one-and-a-half-hour, two-hour surgery ended up being a four-hour surgery. And after the surgery, I was – I couldn’t weight-bear for two months. I was on crutches for two months. And I was very often in a machine that kept my – the circulation going in my leg so that we could try to build new cartilage, grow new cartilage. So I did the best I could do to rehabilitate myself and got back slowly and still had troubles and tried to figure it out. Nine months later, I got back on stage and then performed a few more months. And then I retired from the New York City Ballet.”
The museum served over two million visitors in its 2018 fiscal year (which ended September 30), doubling its annual average of 1.1 million patrons since 2013. In a press release from October 3, Kim Sajet, director of the National Portrait Gallery, said 66 percent of attendees in 2018 were millennials or gen-X individuals.
“Amid [its current] turmoil, the company faces an artistic challenge: The sudden dearth of experienced ballet masters who worked with Balanchine.” (Many of them had been kept away from the company by Balanchine’s successor, the just-retired Peter Martins.) “Now it’s not just the dancers who need coaches, but also a new generation of ballet masters, including Rebecca Krohn, Glenn Keenan, Craig Hall and Jonathan Stafford.” So Stafford has brought in Patricia McBride, Edward Villella, and Mimi Paul, all of whom worked closely with Mr. B. Gia Kourlas watches them at work in the studio.
With a $175 million arts complex called Luma Arles, Maja Hoffmann (an heir to the Hoffmann-La Roche pharmaceuticals fortune) “is trying to transform [the city of 35,000] through art, much in the same way that the artist Donald Judd reimagined a town called Marfa in Texas, or the Dia Art Foundation rebuilt the upstate New York town of Beacon, using art as a draw and an economic engine.” (Not to mention, of course, Bilbao — and, of course, the architect of Luma Arles is Frank Gehry.) “In doing so, Ms. Hoffmann has taken on a role that was once reserved for public officials and city planners: imagining the future and then building it.”