Fabulous! Amazing undertaking, but this is how misinformation, especially racialized pseudo-scientific information turns into "truth": by repetition without challenge or comparative analysis. I do think contextualizing the info is a fantastic leap. Now it is up to social scientists, anthropologists, dance ethnologists, and ethnobotanists especially to jump into this data base and add additional keywords. Excitement! -ABS
"Approximately 7.1 million Americans moved to another state in 2012. That’s over 2.2% of the U.S. population. The United States has a long history of people picking up and moving their families to other parts of the country, in search of better livelihoods. That same spirit of mobility, a willingness to uproot oneself, seems alive and well today based on the visualization of migration patterns above.
The visualization is a circle cut up into arcs, the light-colored pieces along the edge of the circle, each one representing a state. The arcs are connected to each other by links, and each link represents the flow of people between two states."
Luxury private-bus service Leap has halted its service to comply with regulations. Because it knows it can.
Anna B. Scott's insight:
Great idea for the wrong market, in the wrong location. Just ask in Andy Didorosi of The Detroit Bus Co. He launched a bus service to replace the collapsing city service. Leap is a perfect example of the need for disruptive start ups to refocus their efforts away from impressing and serving their friends into growth hacking communities where their innovation would be welcomed with open arms.
I was sent this by the ROH via Twitter to clarify that the previous post on this matter that I'd scooped was issued accidentally. My reply was that now, the issue has multiplied as there is cause for concern that union representation of freelance dancers is as inadequate as their alleged wages.
Only one brave soul has commented on this post, and they bring up a fantastic point: what about sustainability and longevity of the artists' craft?
I live in Los Angeles, a veritable puppy mill of dancers and singers. As the "entertainment capital of the world" we are rarely perceived as the artist capital of the world. Were you to head to Skid Row, or visit the RV villages on the west side, you would find a significant number of former performers living as "homeless." A majority of artists, however, are best classified as "transient, temporary workers." They are internally displaced people in our city...and they receive wages LESS than those of the ROH members.
Migratory patterns of dance artists are considered part of the gig. Flopping from one shared apartment to the next, or hoping for a richer-than-thou live-in lover is de rigueur for survival, as well as having an incredible amount of resiliency when your checks can't find you. Ultimately, being paid at such a low rate translates into the need for a "job job" outside of the arts.
The net effect is that art production suffers as craft wanes, taking back seat to survival.
The translation: quite a number of dance productions and theatre works in LA are produced in alternative spaces and non-union houses, meaning, there is no box office staff. what.so.ever.
If the ROH wants to be certain that they are able to employ the best freelancers for their productions, then they should provide the best conditions under which to work for them, inclusive of pay. I am not unaware of the grotesque reliquary that is the business model of an opera. It is an astoundingly unsustainable model, as far from fleet footed as you can possibly get. I feel your fiduciary pain, ROH. However, if you insist in staying in the business of opera and want dancers who have the chops to be in an epic length production maybe joining other city agencies in London in a design thinking session about housing would be in your best interest.
It certainly would be in the best interest of Equity to drive this conversation.
In Los Angeles, we have a murky idea of where the artists are, but like most big cities with inspired developers, we prefer them to be in one place, all the time, where the real citizens can go view them once a week, free of the burden of dealing with their oddball habits, practices and noise. The Artist District usually shuts out the dance artist because we need space> empty clean space> empty clean, 'unleveraged' sole usage space for our craft. In fact, ballet dancers can't use the same space as tap dancers. Break dancers and "urban dance" practitioners can't successfully share the floor with Modern dance and African dance. It's a dilemma that just makes us look like a bunch of complaint-prone narcissists. We make for easy underpaid targets here because we have different needs.
But the freelance dancers and actors of the ROH are clearly on the same team. Why then has their union been so ineffectual at getting them a contract that ensures their ability to maintain their instruments? Rehearsal is just a small portion of the work a human body must undertake in order to be ready to "art." The sublime is embedded in persistent, insistent study, nutrition, and exercise. That's impossible to maintain as a performer if you need to work at the corner shop for the holiday rush in order to meet your rent.
Fold some free housing into their contract and see what happens.
Freelance dancers in Los Angeles relish the opportunity to be in works that pay rehearsal, performance and per diem. For those who don't make the cut, creating their own work and thus extending the cycle of underpaid, underinsured, 'underhoused' creative works earns them the ire of their neighbors and the disdain of producers.
ROH and Equity, you are racing to the bottom with the lives of the freelance art community in your teeth. Apply some deign thinking to this issue, if common sense proves too nefarious a concept.
The co-creator of Twitter and Blogger has decided that "the internet is simply a giant machine designed to give people what they want." Here's what this grand unified theory means and where it came from.
Anna B. Scott's insight:
Very clear points. Disruption has its limits and is itself a potential addiction. -ABS
For years I have wanted to dance on my own grave. It seems I am named after a very popular noble of the 17th century. So, thus far, I have a 12 minute piece in which I recount my naming and show images of my namesake...I even collect the death certificates of other Anna Scotts...but nothing like this ever crossed my mind. I don't think it feasible unless the person dies on stage. Once the breath is gone and neurons stop firing, the sack of water that is the human body starts to, uh, seep... I can see the fascination, death is largely avoidable--until it is you in its throes--in most of the overdeveloped world.-ABS
Kickstarter partly created the crowdfunding phenomenon that many product designers, inventors, and startups love. This trend of offering a soon-to-be-made product to the crowd, or consumers at large, continues to take the world by storm. The wind behind crowdfunding is about to get stronger with the Securities and Exchange Commission [...]
Anna B. Scott's insight:
Let's hope that these types of raises are successful, but conducted on platforms far removed from citizens just trying to fund a passion. -ABS
Golden frames hung on every wall in the black box theater. Large and golden, like one would expect the Evil Queen’s Magic Mirror to inhabit, exposed a few dancers, pressed against one of the black...
Anna B. Scott's insight:
My review of a student dance show that rocked my world. Classes at Ventura Community College appear o be cheaaaaap! If I was still gigging hardcore, I'd figure out how to get to a class taught by Krenly Guzman. Seriously LA dancers, you might be sleeping on something great.
Two leading neuroscientists introduce the concepts of "cerebral plasticity" and the "regenerating brain," describing what we know now about the processes through which the brain constantly reconstructs itself and the potential benefits this knowledge could have in addressing concerns for neurological, cognitive, and emotional health.
The authors begin with a survey of the fundamental scientific developments that led to our current understanding of the regenerative mind, elucidating the breakthrough neurobiological studies that paved the way for our present understanding of the brain's plasticity and regenerative capabilities. They then discuss the application of these findings to such issues as depression, dyslexia, schizophrenia, and cognitive therapy, incorporating the latest technologies in neuroimaging, optogenetics, and nanotechnology. Their work shows the brain is anything but a static organ, ceasing to grow as human beings become adults. Rather, the brain is dynamic, evolving organically in relation to physical, cultural, historical, and affective stimuli, a plasticity that provides early hope to survivors of trauma and degenerative disorders.
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