“Every spring, thousands of hula fans descend upon the Hawaiian town of Hilo and line the bleacher seats at Edith Kanaka’ole stadium. Thousands more across the islands … watch live broadcasts on their televisions or computer screens. All these people are showing up and tuning in for the beloved Merrie Monarch Festival, … arguably the world’s most prestigious (and consistently sold out) hula competition.” – Atlas Obscura
Category: dance
The Chaotic Genius Of Gwen Verdon And Bob Fosse Through The Eyes Of Their Daughter
It goes without saying that Fosse and Verdon are far from the only people ever to struggle with internal conflict and resort to self-deception. It’s by virtue of their inner landscape, rather than their glamour and artistic labors, that audiences can find common ground with them. – Washington Post
What Teaching Dance In Prisons Accomplishes
Dance to Be Free offers classes in women’s prisons in 13 states, and it even trains them to be dance teachers after they get out. But it’s not just because dance is nice or because teaching could be a career. Instead, says its founder, “Almost every single woman in prison is suffering from some sort of trauma. I knew that the physical movement would help them heal.” – Dance Magazine
A Who’s Who Of Dancers And Choreographers In ‘Fosse/Verdon’
From Ann Reinking to Chita Rivera, from Hal Prince to Shirley MacLaine, the mini-series takes viewers on a tour of mid-century Broadway, and beyond. Here’s how to keep track of the (many) dramatis personae. – The New York Times
A New Miniseries Sets Out To Right An Imbalance In Dance History
Is Bob Fosse one of your artistic heroes? Perhaps it’s time to join NPR host Scott Simon in letting go of that idea, in learning more about Gwen Verdon, and in understanding how creative partnerships work on Broadway and in the movies. The writer of Fosse/Verdon: “In our culture, there’s this obsession with the idea of the singular genius, and the auteur, and who created this film or who created this musical. And the truth is, it’s an army of people every time.” – The Atlantic
A New York Club Founded In The 1970s By The Child Of Sharecroppers Is Still Going Strong
At the Sugar Hill Restaurant & Supper Club, owner Eddie Freeman and his family have seen every kind of music and dancing from disco to house music to whatever the white hipsters now gentrifying Bedford-Stuyvesant are into. “One thing has remained consistent throughout all of the renovations and changes in clientele: ‘The music makes you want to dance.'” – The New York Times
This Norwegian National Ballet Principal Is Balancing A Career, Another Career, And Parenthood
Moving to Norway can focus the mind, or so says former Houston Ballet star Melissa Hough: “I had quite a few life revelations that took me by surprise. I began to ask myself a lot of hard questions and forced myself to find the answers. One of these questions was, ‘Do you want to be a choreographer and if so, why?'” – Pointe Magazine
50 Years Of Dance Theater Of Harlem
In 1969, Arthur Mitchell and Karel Shook started the company in a converted garage. “Together, they wanted to prove to the world something that still needed proving back then: that blacks could indeed dance ballet — and marvelously.” They did, and the company developed a worldwide reputation, one that survived even an eight-year hiatus due to financial troubles. “In honor of the anniversary, current and former members talked about their time with the company and, of course, Mitchell and his legacy. Here are edited excerpts from those interviews.” – The New York Times
Is This How Martha Graham Would Celebrate 100 Years Of Women’s Suffrage? (Probably So)
“This season, the Martha Graham Dance Company [starts] its two-year EVE Project, commemorating the 1920 ratification of the 19th Amendment that gave women the power to vote. Included are two new works: Pam Tanowitz’s Untitled (Souvenir), in which she merges Graham’s steps with her own; and Deo, a collaboration by Maxine Doyle and Bobbi Jene Smith. Inspired by the myth of Demeter and Persephone, Deo explores issues surrounding women and mortality with, aptly, an all-female cast.” – The New York Times
National Ballet Of Spain Names New Director
Rubén Olmo, a 39-year-old dancer and choreographer from Seville who performed with the company from 1998-2002, will succeed Antonio Najarro as of September 1. Olmo’s plans include increased touring and “opening [the company] to the vanguards of dance and new trends in flamenco.” (in Spanish; for Google Translate version, click here) – El País (Madrid)