"From the Streets to the Stage," Krump Dance Turns Ten Huffington Post From "the jerk" to the "stanky legg" to "the Dougie," hip-hop signature dances have come and gone quicker than the lyrics that accompany them.
The Art of Dance
21st Century Dance and Issues in the Performing Arts
Curated by Susan Davis Cushing
Around the world, Israel has become famous for its dance talent. While the small Jewish state is home to several companies, the largest touring group is the Batsheva Dance Company. Read on to learn more about their unique style of movement known as "Gaga," a dance language developed by Ohad Naharin.
This year, we are pushing uncompromisingly towards the future with our first season curated by newly appointed Director of Programs, Thomas O. Kriegsmann. We...
The best of avant-garde performance is on it's way from New York Live Arts. Don your earplugs!
"The awards, the dance world’s equivalent of the Oscars or Tonys, will be presented at the Apollo Theater on Oct. 19. " (more after the click)
Above: Robert Fairchild and Leanne Cope in "An American in Paris." Fairchild is nominated for an Outstanding Performer award.Credit Sara Krulwich/The New York Times
The full list of nominees is available at the Dance/NYC website.
Photo by Ramon Estevanell
"Whether you are rolling down the window in your grandfather’s car, or waving to answer a call on your shiny new Apple Watch, movement and choreography, really, are part of our everyday life. The movements change as technology shifts, all of which feels like perfect fodder for a new dance, according to choreographer/technologist Sydney Skybetter.
(More from writer Nancy Wozny after the click.)
After being asked more than 15 times over the years to play the role of Diaghilev’s provocative virtuoso, the Russian dancer Mikhail Baryshnikov has finally taken a leap of faith. So what persuaded him to do it?
Letter to a Man at the Spoleto festival. Photograph: Lucie Jansch
Abrera becomes the company's first Filipino American principal ballerina.
The rest of the story. Click through to read more about another new principal dancer at the American Ballet Theatre - in case you missed it. :D
"Trisha Brown is becoming more sacred to us every year. Not only is she a great artist who pushed the boundaries of contemporary dance, but she is also a fine human being, an example of compassionate leadership. While dance legends like Martha Graham and Jerome Robbins were notoriously “difficult” to the point of occasional cruelty, Trisha was always respectful, nurturing and generous. She fulfills the promise of a new, feminist way of being an artistic director."
(click through for more from Wendy Perron)
Dance USA has just wrapped up their national meeting in Miami. The writing that comes from Dance USA's ejournal: FROM THE GREEN ROOM, including this article on the brilliant Trisha Brown, Is often at the core of the dance world's sentiment - but it is not widely tapped by the public as a source of wonderful thinking. I shall attempt to make more links here.
From Norbert Servos "It began with controversy; in 1973 Pina Bausch was appointed director of dance for the Wuppertal theatres and the form she developed in those early years, a mixture of dance and theatre, was wholly unfamiliar. In her performances the players did not merely dance; they spoke, sang - and sometimes they cried or laughed too. But this strange new work succeeded in establishing itself. In Wuppertal the seeds were sown for a revolution which was to emancipate and redefine dance throughout the world." (Click on image for more)
Twyla Tharp, seated above, choreographed “The One Hundreds.” It will be performed as part of the River to River Festival this weekend. CreditAndrea Mohin/The New York Times
These highlights of performances around the city, many of them outdoors, feature choice offerings and the artists who create them.
Here's where summer starts. It's a powerful listing, starting with Twyla Tharp's spectacular baseball homage this weekend. And that's just the beginning :) . To mention a few others:
‘The Blues Project Revisited,’ with Toshi Reagon and BIGLovely, Jookin' master Lil Buck, and a Celebration of the Life of Geoffrey Holder (with Carmen de Lavallade) at Lincoln Center Out of Doors,
The Hybrid Movement Company's Contemporary Circus at
Ohad Naharin of the gags dance language with Leesar The Company and his own Batsheva Dance Company in Prospect Park Brooklyn.
Do not miss todays NYTimes for all great listing and images or click through on the links here!
Craig Davies for Art-Sheep
Moscow-based Alexander Yakovlev is a studio-dance photographer specializing in capturing the dynamic, raw power of dancing. In his series of majestic images, the gifted photographer adds the element of flour, giving his subjects the chance to interact with it, capturing the spectacular formed by this combination. (more)
Click through of the thumbnail - his black and white, no-flour-needed images are even more refined and amazing.
‘Line and power’: Sylvie Guillem bids farewell in Mats Ek’s Bye. Photograph: Bill Cooper
The French ballet star has redefined the technical boundaries of her art, and inspired female dancers the world over to confront a culture of compliance
from the article by Luke Jennings
"...Born in 1965, Guillem trained at the Paris Opera Ballet School. She joined the Paris Opera Ballet at 16, and three years later, fast-tracked by artistic director Rudolf Nureyev, became the youngest star in the company’s history. From the first, her dancing was astonishing. Long, slender arms and legs, while beautiful, can be hard to control, which is why the most technically assured dancers are often built along more compact lines, like the Royal Ballet’s Natalia Osipova. But the willowy Guillem could place her limbs precisely where she chose. She would rise on to pointe, float a leg up to the side with her foot winging high above her head, hold the position for a long, insolent beat, and swing into the next step not because she had to, but because she chose to. It was the counterpoint that was so breathtaking. The interplay between her ravishing souplesse and her cool, implacable will." (more after the click)
In a year of impossible farewells to ballerinas, Luke Jennings handles this retirement in lovely prose and a sweet review of a long, formidable career.
"The dance company, founded by a Walmart heiress, abruptly announced its closure in March after 12 highly visible years."
Full story here:
A tragedy in the dance world, Cedar Lake Contemporary Ballet is nevertheless one of the most prominent examples of a sad inevitabilities in the arts community: the need diversify your funding resources. Oh. and perhaps one other: excellence is not enough to keep an institution alive. ~ sdc
Jacob’s Pillow Dance Interactive is an extensive archive of dance videos from the renowned festival. Barrel worked with Jacob's Pillow to design and develop the new video collection site.
And today they won a design award! Woot! For several years, Jacob's Pillow has been honing their stand-alone platform for learning about dance and it's history. Check it out; have it bookmarked for continuous use!
PHILADELPHIA — Though “Dance: Movement, Rhythm, Spectacle” occupies just one large room (arranged to feel like three) at the Philadelphia Museum of Art, it seems to open windows in many directions. Its exhibits range from the 1890s to the 1980s, vividly demonstrating how radically that century brought change to social dance, dance theater and ideas of dance in art. Diversely diverse, the show, which opened this month, offers a panoply of artistic media (photographs, paintings, watercolors, prints, woodcuts, etchings, graphite drawings, lithographs and film), dancers of various races and a huge assortment of dance costumes. Its binding thread? The depiction of movement. (more)
“Dance: Movement, Rhythm, Spectacle” continues through Aug. 2 at the Philadelphia Museum of Art, 2600 Benjamin Franklin Parkway; 215-763-8100, philamuseum.org. The article (click through) in the May 19th NYTimes by Alastair Macaulay and accompanying tease paintings have me ready to hop in the car to Philly this AM. :)
While Trisha Brown is best known for her innovative choreographies, drawing has long featured prominently in her maverick practice, at once a tool for schematic composition and a component of her ongoing investigation into the limits of her own body. Written to accompany the artist’s 2008 Walker survey exhibition, this essay by curator Peter Eleey presents necessary historical and critical context for the artist’s signature work IT’S A DRAW – FOR ROBERT RAUSCHENBERG (2008) and other works on paper in the Walker’s collection.
Let's be real: modern dance is a lot like cats—fickle, often obtuse, and not always for everybody. Sometimes it's something you have to learn to love, and sometimes even that just doesn't work out. But even for the most ardent dog lover, if the simile follows, these 8 digital projection-mapped performances have the potential to make your cold, dance-and-tech culture-starved heart race.
Click through to a great selection of movement and projection- based videos!
Ric Burns’ documentary on the 75-year history of the preeminent ballet company combines rehearsal footage, virtuoso performances and interviews with ABT's key figures including Alicia Alonso and the late Donald Saddler and Frederic Franklin; Susan...
Time Sensitive: Don't miss this while it is still streaming!
Julie Kent, Principal dancer with @ABTBallet. Not only a beautiful dancer but also a mom. #HappyMothersDay #Ballet pic.twitter.com/052LvX9ut7
Photo of the day. From the Spectacular NYC Dance Project.
The Ziegfeld Club, founded in 1936, helped women in theater who had fallen on hard times. The club is remaking itself with a new mission to support creative women on Broadway.
From the Moulin Rouge and Loîe Fuller to the Pussycat Dolls, woman have walked the precipice between spectacular dance shows, creativity, and survival. Their story rarely makes it to the press, yet it is is part of the peripheral history of dance, stardom - and forgotten legends.
Legendary dance choreographer Bill T. Jones and TED Fellows Joshua Roman and Somi didn't know exactly what was going to happen when they took the stage at TED2015. They just knew they wanted to offer the audience an opportunity to witness creative collaboration in action. The result: An improvised piece they call "The Red Circle and the Blue Curtain," so extraordinary it had to be shared ...
Bill T. Jones at his finest. The dance master of our time. I am happy to see that 142k others have agreed over the past 6 weeks. This is as good as it gets.