Where Dance and Boxing Meet

In choreograher Mourad Merzouki’s Boxe Boxe, “as the protagonists come into the ring (complete with stripe-shirted umpire), boxing mitts turn into glove puppets, a dancer’s body curves in a feline swoop only to be caught in a firm headlock, and limbs jab, swipe and kick while a string quartet roams the stage.”

Top Posts From AJBlogs 04.03.14

What did you do in the war, mummy?
AJBlog: Performance Monkey | Published 2014-04-03

San Francisco Museums Land A Great Gift
AJBlog: Real Clear Arts | Published 2014-04-03

Are Strads really better than new violins? First report from the Paris Experiment
AJBlog: Slipped Disc | Published 2014-04-03

The Inventiveness of Brad Mehldau, and Another Bookstore Down
AJBlog: CultureCrash | Published 2014-04-03

How Do We Feel About Killer Heels?
AJBlog: Real Clear Arts | Published 2014-04-04

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Latest Women-Shouldn’t-Be-Conductors Gaffe Comes From Legendary Conducting Teacher

Jorma Panula, the now-83-year-old professor who trained a flock of talented maestros that includes Esa-Pekka Salonen, Osmo Vänskä, Sakari Oramo, and (ahem) Susanna Mälkki, told a Finnish news broadcaster, “They can come [to my masterclasses] and try. It’s not a problem – if they … take more feminine music. Bruckner or Stravinsky will not do, but Debussy is OK. This is a purely biological question.”

What Makes Iraq Stories Different From Most War Literature

George Packer: “The essential scene of First World War writing is the mass slaughter of the trenches. In the archetypal Vietnam story, a grunt who can never find the enemy walks into physical and moral peril. In much of the writing about Iraq, the moment of truth is a reunion scene at an airport or a military base – families holding signs, troops looking for their loved ones, an unease sinking deep into everyone.”