“FORMAL WEAR FOR SCOTTISH COUNTRY DANCERS (continued from the last issue) The other day we received a letter from Miss Jean Milligan, in which she requested that we explain more fully the proper wearing of white silk shirts while engaged in country dancing. Miss Milligan felt that the article, in the January Newsletter, left the impression that the silk shirt may be worn at all times – regardless of climate or temperature. Such is not her feeling in this matter. It may be worn, “as a hot climate alternative, not as a de rigueur costume. ” We have also received the following letter from Society member J. C. Thompson: “Sir: I welcome Miss Milligan’s fashion note which approves Highland Dancing in the white shirt for gentle- . men. Anyone of my size and weight has “swat sair” many a time dancing in a heavy jacket. Furthermore, as the leading light of the Scottish Highland Dancing Society, her word on proper costume for dancing should be taken as final. Her other fashion notes, however, fa1 l in the class of obiter dicta. There is wide discussion on all of them, and I quote my own favorite authority, who happens to disagree on all three points. The citations are from TARTANS AND HIGHLAND DRESS by C. R. MacKinnon of Dunakin. On the dirk belt “a wide belt in black. . . leather, with an ornamented silver buckle,” he says “The dirk belt has come into its own again and is being worn all over Scotland with ordinary day dress. This is a good sign,. . .” As for tartan ties, he starts out “In recent times there has been criticism of the use of striped ties with the ki It, since, it is suggested, tartan ties are more correct.” He concludes “Many Highlanders today regard the tartan tie as a souvenir for tourists, and would not dream of owning one, but the wearer’s taste is the only guide in this matter.” On ladies’ sashes, he makes no mention of skirt length but talks of sashes under the heading of “evening wear.” His illustrations, however, show sashes with evening dresses that I am assured are currently called “ballerina length. ”
from the Newsletter of The Saint Andrew’s Society (Washington D.C. Chapter, 1966)
If you are not careful in New York, with so many things to do, you might find that you have no idea what to do next, and whether it will be vastly entertaining or a complete waste of time. New Yorkers are always witness to things that are the beginning of something BIG-they just do not always know they are part of a new movement until they wake up to read it in the papers in the morning. A good way to not make a complete fool of yourself, or miss opportunities, is to have some idea of what is going to be on the table before you go, and decide if that is where you want to be coherent. Choices, choices, choices! By all means try something new and different every week; that is WHY you chose to live in New York. Force yourself to try new things, and to meet new people, by experiencing the moda of events and entertainment, and learn enjoyably, so that you can at least hold a conversation AND your brunch cocktail! A New Yorker without a plausible reson d’etre is like CAT without Audrey Hepburn. These choreographers are sure to draw a crowd of savvy and important followers, but you will always GET IN.
This post was requested by a few people, who wanted to know about my experiences auditioning to get into a company. So I thought I’d talk a bit about my own personal experiences, as well as explaining the process of how auditioning works.
My senior year of school, I began looking for a job. This entails mostly just searching online, finding companies or countries that interest you, and seeing when and where they have auditions and what you need to send to them in order to be considered to come there and take class. There are many websites that can help out with this, such as balletcompanies.com, pointe magazine, and network dance.
Once you’ve found places that interest you, you’ll have to send them your information in order to be considered to be invited to audition there. Usually companies ask for your CV/resume, a headshot, 2 or…