8 foods for a flat belly-you have all been seeing those pay ads (labeled Free) claiming information about “flat belly foods”. Well, here they are for FREE. Most of them truly do work and are readily available snacks-not just the ones we go for because we are not quite sure of their good properties. Thirty-five years of experience have taught me (and good common sense) that they really do work and taste delicious!
My rating: 5 of 5 stars
There are a lot of books about people, but I always feel that autobiographical works are interesting to read. Once read, you can be moved to read everything else you can get you hands on about the author; this book inspired me to both read and write about Isadora. You can read part of what I wrote here https://mysylph.wordpress.com/2013/02/…
If you have danced, have connections to dance, are a woman, an artist, or are another creative type, you would probably find this book interesting , too. I think it would appeal on many levels, and it has also been (loosely) used as the basis for a movie. If I told you why I liked the book, it would spoil the book for you, but I will say that the time period in which the book is set provides a good historical backdrop for the story, it can be funny, as well as highly informative, sad, witty and is filled with anecdotes, including antics by illustrious characters of the day.
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!
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..
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.
10th Anniversary Season of New York City Center’s
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…
View original post 12 more words
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…
View original post 109 more words
Reposted from Valinkat
Cincinnati 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…
View original post 1,616 more words
mysylph 