Quote of the Day for September 29, 2013


Quote of the Day for September 29, 2013.

WOMEN CHOREOGRAPHERS GET A GOOD SHAKE AT CINCINNATI BALLET


Valinkat

woman choreograhers

Recently, I wrote a Fall Arts Preview in dance for Cincinnati CityBeat (the alternative paper here in town). It’s worth noting that for 2013-14, the company’s first production, “The Kaplan New Works” series again has featured three women choreographers (Jodi Gates, Heather Britt and Gina Patterson).  For the 2012-13 season, Cincinnati ranked first on the list, with seven women against sixteen total for the entire remainder of the list.  Just do the math!

For the rest of 2013-14, Victoria Morgan’s “Frisch’s presents The Nutcracker,” and the world premiere “King Arthur’s Camelot,” join Cincinnati Ballet & Over the Rhine (Jodi Gates again).  Only four women total, but two of them have work presented twice!

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PAY ATTENTION – A Short Documentary on Vimeo


PAY ATTENTION – A Short Documentary on Vimeo on Vimeo

via PAY ATTENTION – A Short Documentary on Vimeo.

Two NYC Dance Landmarks Poised to Close from Dance Magazine


Amsterdam Ballet and New York Ballet Theatre on verge of closing, read on…

Dance Magazine – If it’s happening in the world of dance, it’s happening in Dance Magazine..

Study Guides | New York Theatre Ballet: Study guides concerning some ballets by Diana Byer


 

These are revised histories of great ballets as published in a supplemental education newsletter for students and practitioners, or those interested in the history of the ballets-useful as a starting point.

Study Guides | New York Theatre Ballet.

NYC Ballet Presents NEW BEGINNINGS – YouTube


NYC Ballet Presents NEW BEGINNINGS – YouTube.

Pointe Magazine Online Audition Calendar


Bookmark this!

http://www.pointemagazine.com/ballet-auditions

New York City Center’s Fall for Dance Festival’s Two Free Evenings of Dance| Sept. 16 & 17….


NYC Dance Stuff

10th Anniversary Season of New York City Center’s

 FALL FOR DANCE FESTIVAL

Kicks Off with

 FREE Dance in Central Park, September 16 & 17

 Hosted by The Public Theater

New York City Center will celebrate the  10th Anniversary of its Fall for Dance Festival with two FREE evenings of dance at the Delacorte Theater in Central Park,hosted by The Public Theater, on September 16 and 17 at 8 p.m.(rain date, September 18).

The FREE performances at The Public’s Delacorte Theater will feature four Festival alumni:

New York City Ballet (Red Angels, 1994)

Paul Taylor Dance Company (Esplanade, 1975)

Ronald K. Brown/Evidence (Upside Down, 1998)

STREB Extreme Action Company (Human Fountain, 2011)

(The same program will be performed on both nights.)

Free tickets will be distributed, two per person, at The Public’s Delacorte Theater on the day…

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If David Howard said it…


Reposted from The Dancer’s Toolkit http://centeredstage.com

…it must be true.

I am a strong advocate for dancers developing more internal feedback based on what they feel rather than what they see in the mirror. (In part because a lot of dancers use the mirror as a crutch or enemy, rather than a tool…) It was wonderful to see the same sentiments in print from the master teacher himself (from the New York Times obituary published on August 18, 2013):

““Out of the feeling comes the form…Ninety percent of the time students are taught the form first. And then they’re expected, through some act of God, to get the feeling.”

Mr. Howard’s pedagogy, unorthodox in its day, entailed a kinesthetic approach, in which dancers were taught to rely less on external feedback from the mirror and more on the minute internal signals that telegraph the position of the head, limbs and torso in space.”

In a culture that…

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A CONVERSATION WITH CINCINNATI BALLET’S KAPLAN NEW WORKS CHOREOGRAPHER JAMES KULDELKA


Reposted from Valinkat

Valinkat

The Man in BlackCincinnati Ballet dancers Thomas Caleb Roberts, Danielle Bausinger, & Patric Palkens in James Kudelka’s “The Man in Black.”

 Photo by Peter Mueller.

 Recently I asked choreographers on the same bill (the upcoming Cincinnati Ballet Kaplan New Works, opening next Thursday, 9/12/13, at the Mickey Jarson Kaplan Performance Studio) questions: where they got inspiration for their work, and how doing a piece with quick lead and rehearsal time for a small venue stretched their choreographic chops. I asked them about their style and their music, and how music drove their movement. The resulting article appeared August 21, 2013, in CityBeat’s “Fall Arts Preview”: http://www.citybeat.com/cincinnati/article-28412-cincinnati_ballet_rings_in_50.html

The one choreographer I was not able to speak with personally (James Kudelka) recently responded through his agent with answers to questions I emailed him, trying to replicate the things I asked Heather Britt, Jodi Gates, Gina Patterson and Val Caniparoli about their “new works.” By…

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Exuberant Oxford ! The Exuberant Trust 10th Anniversary Gala Showcase Pegasus Theatre 22nd September 2013


Another one to go for if you live in the UK?

Oxford Dance Writers

The Exuberant Trust is a local Oxfordshire charity which supports young people’s aspirations in the arts by providing small grants at crucial times for specific purposes to help them achieve their goals.  Founded in 2003 in memory of Jennifer Graham-Jones, it has since then given out nearly 80 grants and over £42,000 to help young singers, instrumentalists, composers, dancers, designers, actors, video makers, jewellers, and workshop leaders.

The Trustees are delighted that Pegasus Theatre has agreed to host Exuberant Oxford! a special 10th anniversary showcase which will feature a range of talented young instrumentalists, emerging singer AnnaShackleton, a presentation by acclaimed Oxford theatre group Idle Motion, and performance by local dance artists such as Paulette Mae, Kathak dancer Anuradha Chaturvedi, Hannah de Cancho of Sole Rebel Tap, and street dance group BodyPolitic, as well as dance film by Erika Montenegro and video excerpts of Commedia

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Love’s Limbo Lost



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Picturing Shakespear. Mnsr. Vestris in  Les amans surpris / J. Roberts, del. ; Thornthwaite, sc. A favorite ballet of the time.
Picturing Shakespear. Mnsr. Vestris in Les amans surpris / J. Roberts, del. ; Thornthwaite, sc. A favorite ballet of the time.

http://www.opensourceshakespeare.org/views/plays/play_view.php?WorkID=henry8&Act=5&Scene=3&Scope=scene           (Shakespeare, “Henry VIII,” act v, sc. 3)

http://www.sparknotes.com/poetry/paradiselost/section11.rhtml   (Milton, “Paradise Lost,” III, 495)

http://www.poemhunter.com/poem/hudibras-part-2-canto-i/    (Butler, “Hudibras,” part II, canto i)

(Late Latin limbus) a word of Teutonic derivation, meaning literally “hem” or “border,” as of a garment, or anything joined on (cf. Italian lembo or English limb).

Natural limbus infantium
Natural limbus infantium

In theological usage the name is applied to (a) the temporary place or state of the souls of the just who, although purified from sin, were excluded from the beatific vision until Christ’s triumphant ascension into Heaven  (the “limbus patrum“); or (b) to the permanent place or state of those unbaptized children and others who, dying without grievous personal sin, are excluded from the beatific vision on account of original sin alone (the “limbus infantium” or “puerorum”).

In literary usage the name is sometimes applied in a wider and more general sense to any place or state of restraint, confinement, or exclusion, and is practically equivalent to “prison” (see, e.g., Milton, “Paradise Lost,” III, 495; Butler, “Hudibras,” part II, canto i, and other English classics). The not unnatural transition from the theological to the literary usage is exemplified in Shakespeare, “Henry VIII,” act v, sc. 3.

Blake‘s epic poem tells the story of Sir Hudibras, a knight errant who is described dramatically and with laudatory praise that is so thickly applied as to be absurd, and the conceited and arrogant person is visible beneath. He is praised for his knowledge of logic despite appearing stupid throughout, but it is his religious fervor which is mainly attacked. Blake undoubtedly drew from Don Quixote for his witty satire about a man who thought he knew too much and gets repeatedly beaten for his views and interfering with the rest of the world’s vices. Unlike Don Quixote, who is humorous and draws our sympathy, Hudibras gets none. It was very popular in its time (1700’s), but was not a beloved story, for it spurred no ballets. However, many stories and art are descended from it. It’s main argument stems from political views and religious theorists at the time, sometimes combined into one group, and the public found this pairing amusing and ludicrous. Some writers and reviewers of the times felt Blake was too hard on certain puritan factions, so it did not please those everyone important.

My purpose in dredging up these hyperbolic entrails is that they serve to explain and accentuate my point the about idiocy of ballet politics, dance politics overall, and some characters of the world in general. It also underlines the fact that the attitude held by some teachers of ballet (certain people are destined for success and others aren’t) is fascist and not particularly conducive to the making of good dancers or art, at all. These people hold that they are the judge of the times. This self-appointed “hell” that parents pay for their children to be entombed in is called a competition studio, and not a ballet or (art) studio where expression and all great art is derived. Were it not for imperfection, there would be no art, as true art is not necessarily perfect. This is history repeated though, and nothing new occurs. It is part of the reason why it is impossible to achieve art in a school for young dancers and in many cases in a ballet theater, and probably some companies. Mothers and fathers, wooing administrators with money and work, fund raising efforts, and their own strings-attached beneficence result in the many studios I know of, which have some good elements, running a muck. At least in a ballet company these souls are excluded for the most part and the business of art may take place-and in most good ballet schools as well as in other types of other schools. At the studio my daughter was recently at, the operator had her own unique ideas about the dancers, their abilities and what sort she advanced into new levels. Each year she would change the levels around to accommodate her future plans without consideration for the families involved and especially the children whom she was hurting. If a parent was paying for more children, they got more attention, moved up, more and better roles, etc. If they contributed large sums of cash, those students could be expected to get privates and a lot of pushing even if they weren’t very good dancers, had poor technique, bad habits, arrogance, etc. A very few children, literally one or two out of each level, received her full attention and she would work with them for years, giving privates and coaching, lead roles, until she managed to get them something. She wouldn’t even give corrections (strike one) in class (especially my daughter) except to her very favorite few and she manipulated the entire class to evoke harder attempts from these few by using the others as comparisons. It was a very backward method, resulting in those few getting all the attention, etc., while the others continued to pay for the scraps leftover-even dancers who were quite good!

My daughter has spent the last several months in limbo, from an effort by this director to get her to leave. Her others students resented my daughter due to the attention she was getting from her Russian teacher, who no doubt was rewarding her hard work and effort. She also had privates with him, and in under a year was up to and in some cases better than her classmates. After six more months and more privates, she was better than her very best dancers-so she prevented her from doing YAGP- a punishment (strike 2)! Also, the other female teachers there would not giver her privates for fear she would compete with their prize students. They all held this attitude that each student belonged to a teacher-only one. It just happened that we had the best one and they ALL resented this. He also had the hardest working students and some of the younger ones and boys did competitions and they won. His won. But my daughter was not allowed by her. I did not realize it was the director controlling him, telling him to help other students who were willing to pay more money-who had more money, but it was. She would come out and not allow him to give my daughter privates when she was waiting, instead directing him to take someone else first/instead (Strike 3). Prison. Confinement, or so this mistress hoped, and by these actions she expected my daughter to be discouraged and repeatedly kept back and slowed down (2nd chance). Finally, I realized what was going on and we finished out the year-end performance and left. I did not pay her the last two of 12 equal payments for the year. Would you?

She may now yet again have a fair opportunity to enter the beatific vision of ballet Heaven. A school where she can dance hopefully unencumbered by these people who believe they hold the carrot and the key to her success. If the key is money and not art, not teaching, not learning, and performing is not possible without patronage at so early a level of training, then art sits in confinement, and talent is imprisoned, learning is sanctioned, and futures are undeveloped. There is no chance of my daughter growing into a beautiful dancer there, for the environment is evil and the hatred and jealousy running beneath the surface permeate the spirit of the dance. It was important to her to make these other students feel superior to my daughter and certain other students in an effort to keep the money coming in. My daughter was incredulous to find that she had been demoted (LAST STRAW) to a level with dancers who were ungainly (also ridiculed by her and humiliated in front of everyone else as an example-not to be overweight (seriously, in a little local ballet school????-yes, she actually calls herself a dance educator), did not even bother or try to learn (who could blame them?), and who showed zero interest in ballet (no wonder!), and whose families were not financially important (bingo). My daughter was age-level and training level appropriate for the higher level, but was being highly encouraged to leave, I would say…. I do not want to say much about the girls who were promoted, the previous takes into account their possible faults (false self-confidence, and their parents stupidity) being ignored in favor of monetary support, so I need not impune them further-wouldn’t be nice. Over time, we were able to see that each parent of each of these children held some advantage over the director, was useful, or was paying at least for two children. But my daughter was to be made miserable, to be cast down, by the director of the studio, whose arrogance rivaled Hudibras’, as if to say, “no matter how hard you try, you can never be better than my worst higher-paying student. it is a hard lesson for a teenager to learn-to see someone so cruel, and I can assure you, she was one of the best dancers in the class upon leaving. She was convinced it was a mistake, a cruel joke played by one of the parents who sent out the certificates and promotions, but when I realized it and called, I was told the director would “re-evaluate her” after the summer. The summer program there is usually pretty good, but for two years we have been unable to afford it. However, when we come back, my daughter is still more advanced than others, because she works very hard and continues her privates with her Russian teacher-who refused to teach anyone else who asked. I knew there was no evaluation or training issue, as some of the other girls in class are well behind my daughter in all areas, but I knew it had to do with money and politics. A child does not usually understand this, but my daughter readily saw the reasons for it, so it was not very hard to dispense with. She refused to go back.

This Summer that would have resulted in our being pretty much cut-off from her Russian teacher, but that dependence needed to be discouraged anyway for some other reasons. After about two weeks of this, she began to be led dancing into different directions. There were an inordinate amount of accessible master classes in the area-I wonder who was teaching at the intensives! Her vision must be pure as her luck was good! God never closes a door….

The mean Hudibras in the stocks.
The mean Hudibras in the stocks.

This kind of imposed limbo by the director was averted by the number of available classes to take. Quickly, she perked up, finding plenty of support from other teachers. The other aspect of this is that she is the kind of able, ready and polite student that everyone else wants to teach. Once they see her seriousness and rapid improvement and other good qualities they usually (not always) help her, encourage her and eventually become attached to her. Each school she went to and auditioned for this Summer she was accepted to, and she was placed in a suitably advanced level in. In each master class, the teachers praised her and helped her. She wanted to go to New York and audition for SAB, and I almost doubted her. I thought perhaps she was trying to overcome those bad qualities projected onto her by that director and frankly, I was worried that she would not be accepted. She needed to erase the self-doubt that this woman had placed in her mind deliberately. The baby in limbo infantium, innocent of real sin or error, but far away from the beatific vision sought by dancers everywhere, but I was wrong to doubt her and she has a lot more mettle than I had anticipated (as usual). You’d think I’d learn and have more faith. She did it everywhere she went. She got better seemingly without even trying-she stepped up a level, a notch in her professionalism and self-confidence. The nervous, shy young girl is mostly gone, but in her place is a beautiful, confident young lady of just 15 years old who knows all of her hard work has not been in vain, shaking the dust off of the bottom of her feet as she goes. She was happy to see the girls there and was truly pleased that most of them were happy to see her when she went back for a few classes at the end of the Summer with her Russian teacher. She is convinced once again that she is happiest while dancing, more competition is better, and she was able, while at these other studios to compare herself to their best dancers and to see where she was in comparison. She found herself close to or better than their best, different, better in ways they were not, learning more and new things, getting new corrections and insights, different stretches and work, new combinations, and working just as hard, and getting much better, being more relaxed and open, despite a shorter schedule and fewer classes. She is finally working smarter! It is as though she finally sees in herself-herself and not a victim, but a fighter (the best kind) and a catalyst. She is a dancer!

Perhaps I did not make her appear chastised enough and down-trodden, from the perspective that those mothers felt sorry for her-some of those students felt sorry for her too. It did seem as though a very few of them actually took solace from this, feeling that they were better, but some others sought me out and were very kind and understanding. None of them felt we would come back, and the director sought her out in one class to dwell upon her expression and to watch her to see whether she had improved or not over the Summer, and to witness her unhappiness. But broken spirit was not what they beheld. She was better and improved! One teacher literally glared at me when she drove up. But enough of that. The good that came from the experience, for one, outweighed the bad. In fact, she won, for she has been accepted into a very exclusive school in a large city! I would like to blame them, but I am having to be thankful for all of their actions and roles played in this would-be tragedy, except for the indomitable will, spirit and grace of my child, who is a far better person than I have ever been or probably will ever be. She met Jacques D’Amboise and then took a nearly three-hour class with him, a lifelong memory and inspiration from someone whose heart has always been in the right place-I think this inspired her to go do the Fall auditions. She decided she was interested in Balanchine and Cecchetti and she was inspired to read and research, herself, where these opportunities lay.

We were prepared to enroll her in classes with another Russian teacher who wanted to train her, and we had enrolled her into public high school, when the unavoidable happened to thwart those plans. We have had mold in our house due to some repairs from several leaks that the landlord has not made over the past several months. She was finding it difficult to breathe and I moved her into the living-room to sleep over the Summer. She complained of stomach pain, nausea and headaches as well which caused me to confront the landlord and seek to force the repairs. I have been sick, but no one else in the house has been and I did not think it was due to the mold until she was affected. So at the end of August, awaiting repairs, I sent her to a big city with family. She was already inspired to take classes and do auditions. I set them up, we took photos provided by a good friend for free and they were beautiful to see! She was accepted to a school of some prestige, but most importantly with a very good program including all of the things those here lack, and an environment and philosophy which might work out perfectly for her, AND she was placed in the advanced level, second from the top-the top being an actual company-of company-ready level performers, which she is not yet (at 15, seriously-who really is? But advanced! I just hope she can handle all of what she is about to undertake. There will be quite a learning curve considering the deficiencies at the school she has been attending. At this school, the students do get placed into companies and have numerous opportunities to dance! The faculty is really amazing and it is reportedly “not so cutthroat” as some others schools. She will have classes six days per week and one or two with the company-level dancers. She will have pilates, character, yoga, pointe everyday, partnering, technique everyday, and variations. She will learn choreography, the students have choreography done on them for performances and workshops regularly, and there are many master classes, guest teachers, workshops, rehearsals and performances. It was like God just said, there. How can I say no?  She (hopefully) can practice there, study and do her schoolwork. She has family there who also will support her and encourage her, but she will have to be a little more independent of me. No more limbo. You must keep on dancing!

Hubidbras vanquished and protected by Trulla-text supplied-in his confinement
Hubidbras vanquished and protected by Trulla-text supplied-in his confinement

A Little Night Music


The haunting melodies of Stephen Sondheim’s musical have little to do with the day to day hum drum of our lives, or don’t they? I have said before that I am a romantic or am I an imaginarion? It must be both, and perhaps, all. As the Summer comes to a close, I look at the empty new schedule, and wonder where the last year went. It is written down and drawn out for me in the pages of the last two years’ schedule, but I will probably never sit down and look through it, preferring to take with me into the future a fresh, clean slate, not written in as yet although it began chiefly in the month of August. I have not opened that book for fear the same predictable appointments and hardships will mar it’s nice new pages. So, I will a while with it’s nice new pages until some new idyllic event occurs and happily joyfully and dutifully causes me to begin to christen it.

Gosh!!!!What a year it has been so far….they was the Nutcracker which went very well for my daughter, even though she was pushed by a mom in the theater for (presumably) upstaging her daughter. If I had been entirely sure my daughter was right in her initial assessment of it, which she probably was, i would not have retreated without a fight? When does one need to fight? And when should one circle ones enemies, or hide in the bush, and await the right time to pounce? My mother used to say,”he who’s runs away lives to fight another day!” He who runs away might also be a coward. I, for one, think there is a lot of good about being a coward. It has saved my behind on more than one occasion. Sometimes a coward thinks alot about why he is a coward and that can also be punishment enough. Well, most of you who knew me would say,”You are no coward!,” but they would be wrong. I think I come from two cowards and I fear I may have passed this on to all of my children. “Only the good die young” is also a fairly apt expression because we attribute to people who die all of the good traits that we did not think about them having at all when they were alive. In fact, we may not have thought about them very much at all when they were alive but when they die, their death brings out in us all of the hypocritical tendencies we otherwise lack, by having the podium to discuss their worth. My grandfather and other people’s grandfathers did not want to be mourned in their death by people who did not rejoice at their life. Also, we were to not be penitent about what we were not sorry we did at the time, but are very sorry we got caught for! If w you walk down a street, do you say hello to the bum the way you say hello to the banker? They are the same men after all….in God’s eyes. But we are not perfect, but we can strive to be. And never let the sun set on your anger….keep on dancing.