dalajlamapeace originally shared:
The Art of Dance
21st Century Dance and Issues in the Performing Arts
Curated by Susan Davis Cushing
With thanks to Merce Cunningham's great friend and supporter Mikhail Baryshnikov. A Merce Cunningham Trust Production.
The Merce Cunningham Trust now has more than 100 videos online for your perusal. Bravo!
Rhythm & Roots: Dance in American Art explores the influences, evolution, and distinct traditions of dance in America. The exhibition portrays dances throughout America's diverse community, from the sacred dances of indigenous North Americans, to Irish jigs, and Spanish flamencos. About 90 paintings, photographs, sculptures, and costumes relating to American dance from 1830 to 1960 will be on view.
The exhibition examines how dance moved to the public stage, showing new American dances, dance in the club, and artists’ historic fascination with and depiction of performers. Paintings in the exhibition feature iconic American dancers such as Isadora Duncan, Katherine Dunham, Fred Astaire, and Josephine Baker, as well as Spanish dancer Carmencita Dauset Moreno and Russian ballerina Anna Pavlova.
Rhythm & Roots also demonstrates the interaction between visual artists, dancers, and choreographers. Works on view show the collaboration between artists like Diego Rivera and Andy Warhol with dance companies such as the American Ballet.
Video, music, and interactive spaces help bring dance and performance to life in the exhibition galleries.
A richly illustrated exhibition catalog featuring essays by art historians and dance specialists will be available in The Shop and online.
Rhythm & Roots is organized by the Detroit Institute of the Arts, curated by Jane Dini, associate curator of American art at the Metropolitan Museum of Art, and locally curated by Angelica Daneo, curator of painting and sculpture at the DAM. It is on view at the Detroit Institute of Arts (March 20-June 12, 2016) before traveling to Denver in July. It also will be on view at Crystal Bridges Museum of American Art in Arkansas (October 22, 2016-January 16, 2017).
pictured here: William H. Johnson 1901-1970
Dance Ink was originally published from 1989-1996 and developed a cult following among dancers, photographers, and designers. Originally produced as a quarterly, Dance Ink won numerous awards for writing, photography, and design. Dance Ink gained recognition for its coverage of dance and its close connection to dance and performance in New York City. Our relaunch of Dance Ink picks up where we left off in 1996, with the publication of Volume 8, Number 1. The issue returns to our original premise of creating a unique and enduring stage for performance, using great photography, powerful design, and the beauty of high-quality printing.
At 64, the choreographer, director, dancer and writer Bill T. Jones is making some of the most personal work of his career.
A link to a wonderful read - nearly a biography - of one of the most important performance artists of our generation. This is not to be missed by anyone who cares about dance, it's history, and the multifaceted aspects of genius.
In Cuba, the ballet is something of a national treasure. The dancers recruited into Alicia Alonso’s storied company Ballet Nacional de Cuba, for example, reportedly make more money than doctors and enjoy a level of fandom reserved only for pop stars in the United States. The Cuban government not only funds ballet training but also subsidizes tickets to ballet performances. Lovers of Cuban dance like to say the adoration and skill is in their DNA.
“You can find anyone in the street here in Havana who can dance as well as most professionals,” Cuba’s Ballet Rakatan choreographer Nilda Guerra told The Guardian.
And in a country historically associated with machismo, it’s not just women enjoying the allure of ballet. “Before, ballet in Cuba was a marginalized extravagance,” the New York Times wrote in 2005. “Now, men in one of the world’s most macho countries clamor to put on dancing tights.” Cuban-born Royal Ballet dancer Carlos Acosta reiterates the sentiment: “I wanted to play football and I was like this reckless child. But when I saw the professionals of the National Ballet School of Cuba perform for the first time, it changed my life forever.”
New York comes with a beat that certain people, like the choreographer Alexei Ratmansky, can instantly follow. “It welcomes you,” he said in a recent interview at American Ballet Theater’s studios on lower Broadway. “You don’t feel like an outsider.”
Since 2006, when he choreographed “The Russian Seasons” for New York City Ballet, Mr. Ratmansky, now 47, has been beguiling audiences in the city with dances that hint, loosely and not, at Russia — or rather his Russia, with its wealth of pageantry, theatricality and history. But there is an American sensibility in the mix as well. Why do his dances, even those with a Russian tone, feel so free, so American?
George Balanchine, another St. Petersburg transplant, introduced a jazz sensibility to the classical form in dances like “The Four Temperaments” and “Agon.” What Mr. Ratmansky brings to ballet is a singular voice, unpredictable yet recognizable; he uses classical technique, but allows it to breathe in the joints — it’s loose, rangy, forthright." (more) click through
Rotten picture, great article on one of the pre-eminent choreographers of the 21st Century. Great teaching (and learning) tool.
Ms. Dorrance’s let-it-all-hang-out style — as much about knees and elbows as it is about her speedy feet, a contemporary physicality nothing like that of Fred Astaire or even Savion Glover — inspires kindred idiosyncrasy in others.".
Also see http://nyti.ms/1SEQSJ5 for more on Michelle.
The power of rhythm in the performing arts steps to a 21st century challenge in the work of Michelle Dorrance.
"...I only wish to emphasize, with the utmost fervor, how important it is for a young artist to delay ‘’professionalism’’ as long as possible. Find some way to give yourself a chance – and time – to experiment, take risks, play, fool around, even fail, before trying to launc a career. Show your work only to a few devoted friends. Art schools should be a congenial site for this kind of engagement, and sometimes they are. But, as I have frequently found, art schools also tend to serve as launching pads for careers by fostering the same emphasis on polish and completion that one finds in the art world. Challenge yourself with what ‘’doesn’t work.’’ Know your sources and what influences show up in your work. Don’t worry about originality, but be self-critical, and find ways to accept and deliver supportive criticism among your peers. Don’t get hung up on creature comforts. They can come later. Try to see everything.
From what I can observe of younger artists today, those who are most positive about the state of the art world have banded togheter to form their own cooperatives, for exhibitions well as living and working arrangement. You need one another as never before.
Best of luck,
Compelling thoughts for young artists from Yvonne Rainer.
The choreographers Larry Keigwin, Stephen Petronio and Reggie Wilson will take their troupes to nine countries for the sixth season of DanceMotion USA.
This cultural exchange in dance is a marked historical step forward, allowing American, non-mainstream dance to reach eager customers abroad. Toi Toi!
As she channels the artist Edgar Degas's most famous ballet works ahead of a new exhibition at New York's Museum of Modern Art, dancer Misty Copeland opens up about what it feels like to make history.
Bliss. An amazing dancer (Misty Copeland) , incredible photography (NYC Dance Project) and the artist who brought the world backstage. Ken Browar and Deborah Ory continue to defy the boundaries of beauty with their transcendent photography, Misty Copeland breaks barriers every, and the beauty of the combination is transcendent. Make sure you click through to the whole article - sdc
Mr. Millepied said that he had decided to focus on his own choreography and to return to Los Angeles, where he still directs the L.A. Dance Project.
Is Millepied a bright star moving too fast? Start here. Then follow the millions of feet (sorry, tweets) #BenjaminMilliped
The Swan Queen enters the stage to the familiar harp ripples that signal the beginning of the tender Act II pas de deux of “Swan Lake.” Dressed in a white tutu and feathery headdress, she plunges her arms forward,
wrists crossed, in a movement familiar to lovers of this ballet. But the familiarity ends there. Prince Siegfried is nowhere to be seen; this Swan Queen is barefoot and bald; and as Tchaikovsky’s plaintive violin melody begins, her movements incorporate balletic sweep and the grounded, hip-shaking, stamping notes of African dance.
It’s a pivotal solo by Dada Masilo in her version of “Swan Lake,” which arrives on Tuesday at the Joyce Theater after a jubilant reception in Ms. Masilo’s native South Africa and an extensive tour in Europe, where it has been greeted by rave reviews and packed audiences. (more)
Forward Dada! More! More!
Psychologists have found that the creative personality contains layers of depth, complexity and contradictions.
This excerpt is from the new book Wired to Create: Unravelling the Mysteries of the Creative Mind, by psychologist Scott Barry Kaufman and HuffPost Senior Writer Carolyn Gregoire.
“The truly creative mind in any field is no more than this: A human creature born abnormally, inhumanly sensitive.”
— Pearl S. Buck
The choreographer Bill T. Jones. Credit Ian Douglas
In 1964 the New School hosted a series of lectures called “The American Race Crisis.” In 2016 the subject still feels urgent
One of the 15 civil rights leaders who spoke at the New School that year was the Rev. Dr. Martin Luther King Jr. With the federal observation of his birthday on Monday, plenty of events around the city will honor his legacy; some of the more notable ones use his life’s work to talk about the persistence of racism.
(please click through for more complete NYC events list)
Above Ferocious Beauty: Genome” (2006) by Liz Lerman, developed under Pamela Tatge at Wesleyan, photo by Andrew Hoxey
article by Wendy Perron
"The beloved Jacob’s Pillow Dance Festival just announced its new leader: Pamela Tatge. She’s a dynamic curator who directed the Center for the Arts at Wesleyan University for 16 years. She brought in dance artists like Liz Lerman, Eiko Otake, Michelle Dorrance, Ronald K. Brown, Compagnie Marie Chouinard, Faye Driscoll, Camille A. Brown, Nora Chipaumire, and many ... More »
Ella Baff's replacement has been named.
The astonishing collaboration of Louise LeCavalier, Edouard Locke and David Bowie
Marie Louise Fuller was born in a suburb of Chicago in 1862, and quickly began a career as a child actress.
With no formal training, she developed an interest in dance and choreography. Rather than attempt classical ballet or other traditional dances, she came up with her own form of free dance. Her pieces used flowing silk costumes as canvases for dynamic multicolored lighting.
Performing under the name Loie, Fuller took her performances on the road, and settled in France. There, she mesmerized audiences with her unique dances and gained the friendship of artists and intellectuals, including Auguste Rodin and Marie Curie. Her liquid movements and costumes also made her a popular subject for Art Nouveau painters and sculptors." (more)
Every one of these images has held up to the test of time. Spectacular.
by Gia Kourlas
..."These days, following contemporary dance is a little like digging for treasure in a junkyard. What I’m always looking for are choreographers who are not pushing boundaries blindly but investigating the myriad possibilities of modern dance and the body and how to situate both in popular culture. I keep up the search because of those moments during a performance when, suddenly, my spine straightens: I’m in the presence of an artist and not an impersonator."...
A great read, start to finish. Modern dance, contemporary dance, and the never-ending struggle to find the good works in the cutting edge. On a personal note, I believe there is a;ways something wonderful simmering underground.
Dance took off in unexpected directions this year. Our critics look back at some of the biggest surprises.
Clockwise from top left: Benny Olk and Erin Dowd in “Crises”; Misty Copeland and James Whiteside in “Swan Lake”; André M. Zachery and LaMont Hamilton’s “Dapline!”; and Elina Miettinen and Gabe Stone Sayer in “Sleeping Beauty.” CreditAndrea Mohin/The New York Times ("Crises" and "Sleeping Beauty"); Julieta Cervantes for The New York Times; Richard Perry/The New York Times
From the NYT Dance Critics' Point of View.