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Gina Gibney’s Growing Dance Empire

“Gina Gibney runs two enormous dance spaces in New York City: Together they contain 23 studios, five performance spaces, a gallery, a conference room, a media lab and more. Gibney is now probably the largest dance center in the country. … The new branding calls for it to simply be called Gibney (as opposed to Gibney Dance), to reflect its range of public programs, affordable work space and commitment to social justice issues. … Gibney also houses the Gibney Dance Company, which was founded in 1991.”

Dancing With Death: The Murky Ethics Of Filming People In Life-Threatening Danger

The Deminer” – a documentary about a Kurdish Peshmerga officer who disarms mines – “makes for nervous viewing. Each of the four detonations we see ratchets up the sense of inevitability. It’s not quite a snuff movie, though haunted by a similar balefulness. What moral responsibilities do documentary-makers have when their subject is a danger to himself?”

Music As Political Activism – Can It Ever Really Work?

“Part of classical music’s conceit (as well as other genres’), even among many contemporary audiences, is the notion of a universal beauty in music, and there’s nothing fundamentally wrong with that … Classical music isn’t alone in this regard (although it does carry the most Enlightenment baggage). … What a conceit can’t do is provide the foundation for concrete political change.”

Mezzo-Soprano Huguette Tourangeau Dead At 79

A winner of the Metropolitan Opera National Council auditions in 1964, the Canadian mezzo had a career at the Met and many North American companies, but she was best known as Joan Sutherland’s co-star on a series of opera recordings conducted by Richard Bonynge, including (among others) Norma, Maria Stuarda, Lucia di Lammermoor, and Les Contes d’Hoffmann.

Controversial Statue Of Stephen Foster In Pittsburgh Comes Down

“The move followed an October decision by the Pittsburgh Art Commission, which found that the statue should be removed within six months and hosted in a private, ‘properly contextualized’ location. Many residents have held that the sculpture – showing a shoeless African-American banjo player seated at the famed composer’s feet – is condescending or outright racist. Speakers at commission meetings last year largely agreed.”