‘Red Bull Flying Bach’ – Break-Dancing To ‘The Well-Tempered Clavier’

“When German break-dancer Vartan Bassil came up with the idea for Red Bull Flying Bach, he hoped to bring together those who sneer at pop culture and those who snore at high culture. And he hoped to impress the other parents in the room.”

The 24-Year-Old Choreographer Who Wants To Make Dance The Intersection Of Everything

“Artists fail when they aren’t able to make their art a brand,” says the choreographer and dancer, who is lean in an almost feline way, with thick muscles that propel him into lithe motion at the slightest provocation. “We want to be at the intersection of dance and fashion — of dance and advertising. How do we get dance to a wider audience?”

‘Ballet Remains A Sexist View Of The World’ – Alastair Macaulay On The Form’s Gender Roles In The 21st Century

“[That view is] one that privileges the woman, certainly, but on terms that let her shine only by doing what no man can. Should we agree with the choreographer George Balanchine (1904-83) that ‘ballet is woman’? Or do we qualify this, as the choreographer Pam Tanowitz (born in 1969) has recently done, by saying that ballet is a man’s idea of woman?”

Balanchine – A Teacher Above All

“As he saw it, that job, teaching, was his main job. Most of us think of him preëminently as a choreographer, but he insisted that he was above all a teacher. Class or not, he said that all dancers had to do a complete barre (supported exercises, executed while holding onto the rail) every day. It was like brushing your teeth, he said. You didn’t think about it; you just did it.”

How Northern Ballet Rethought Its Transactional Business Model

“The greatest challenge was to try to change the existing culture from one that was transactional to philanthropic, removing the need for tiers and associated benefits. The Directors’ Circle was our upper-level membership scheme, designed with its own set of tiers (silver, gold and platinum) and associated benefits. The scheme itself had been relatively successful, particularly in the development of our Sponsor a Dancer appeal. The drawback to the scheme was that it was not cost-effective if supporters drew on all of their benefits. This meant that rather than creating a community of supporters we were at risk of turning those closest to us into transactional givers.”

What A Russian Dancer Expected To Find When She Came To Work In The States, And What She Actually Found

For example:
“Expectation: The American dance community is super competitive and hardcore.
Reality: Coming from a world of Russian discipline, I was surprised to find out how joyful American dancers, choreographers and teachers are about what they do.”

Sacramento Ballet Board Dumps Artistic Directors After 30 Years

“The Sacramento Ballet board of directors has announced the company’s 2017-18 season will be the last for co-artistic directors Ron Cunningham and Carinne Binda. … It will be their 30th season with the organization.” While Cunningham and Binda aren’t fighting the decision, they’re stating publicly that the board made it and they aren’t ready to go.

What Ballerinas Want In Shoes For Off-Hours

“‘We can’t walk barefoot, ever,’ explained Sara Mearns, a principal dancer at the New York City Ballet. Megan Fairchild, a principal dancer at the same company, echoed that sentiment: ‘We get up out of bed in the morning and put shoes on. We don’t go anywhere without something that’s shock absorbing.'” (includes video)

Classical Ballet And The Aesthetics Of Discrimination

Kat Richter, responding to Pennsylvania Ballet’s firing of principal Sara Michelle Murawski because she’s too tall, reminds us that “ballet is, in fact, an ethnic dance form. As such, it embodies the social, cultural and aesthetic values of the time and place in which it developed (16th-century France)” – so height and skin color are far from the only factors in which it discriminates.