Why? Because they’re in city-owned buildings, and “San Francisco Mayor London Breed announced on Friday, March 6, that War Memorial and Performing Arts Center venues, including the Louise M. Davies Symphony Hall, will be closed for all public events for the next two weeks over fears of the rapid spread of COVID-19.” – San Francisco Chronicle
Category: dance
The Choreographer Reimagining How We See Dance
Chris Emile does DIY dance all over LA, bringing in audiences who normally might stay away from spaces like museums, or from traditional dance stages. He says, “It was really important for us to show people of color in our performances and just be physically closer to the audience, because we felt that was the way to get people impacted and get people involved in what we were doing.” (It’s working.) – Los Angeles Times
A New ‘Neoclassical Ballet Collective’ In London
Says choreographer Andrew McNicol, “With McNicol Ballet Collective I wanted to create a new type of company that offers world-class dancers a flexible performance platform that’s able to fit in around the repertoire and commitments of their individual home companies.” – The Stage
‘I Was In ‘Riverdance’ — A Dance Critic Fesses Up
Siobhan Burke: “Divulging this information has never been simple, not during the four and a half years I spent touring, on and off, with the Irish dance extravaganza, and not in the decade since I last set foot onstage with the show. … The mere sight of a Riverdance billboard … fills me with an uneasy mix of affection and anxiety, embarrassment and pride.” – The New York Times
Is It Possible To Take The Ethnic Stereotypes Out Of ‘La Bayadère’? Ángel Corella Is Trying
This Imperial Russian tale of an Indian temple dancer may be the most egregious collection of outdated orientalist caricatures in the entire ballet canon. But it remains popular, and many dancers love it themselves. In developing his new version of the work for Pennsylvania Ballet, Corella has engaged Final Bow for Yellowface co-founder Phil Chan and a Kathak specialist from Swarthmore College. – The Philadelphia Inquirer
When A Ballet Company Hires A Scholar-In-Residence, What Does She Do?
For The Washington Ballet, Dr. Natalie Rouland studies the history of great Russian story ballets such as Sleeping Beauty and Swan Lake, going all the way back to the written stage directions and Stepanov choreographic notation of the originals. – Dance Magazine
All About Tights And Tutus
Where they came from in the first place, how they’re made (and laundered), and why they got Nijinsky fired. – The Stage
Nietzsche’s Fascination With Dance
Nietzsche offers an interpretive key: his references to dance (Tanz). Taken together, these references light a path that begins in Nietzsche’s first book, The Birth of Tragedy (1872), and wends through every major work into his final, the posthumous Ecce Homo (1908). These references not only link his ideas and styles, they also shed light on Nietzsche’s enduring motivation: to teach readers how to affirm life here and now on Earth as human bodily selves. Nietzsche’s dance references call attention to the sensory education that he insists is necessary for creating values that ‘remain faithful to the Earth’. – Aeon
David Hallberg Will Be Artistic Director Of Australian Ballet
The ABT star, who credits the company and its physiotherapists with restoring his ability to dance following a severe injury in 2014, will take over from David McAllister at the beginning of 2021. – Sydney Morning Herald
The New Disney Parade: A Hotbed For Dance?
The stars of Magic Happens are the dancers, significantly elevated from their traditional role revving up the crowd with upbeat moves between set pieces. The 90-or-so performers are graced with heavily theatrical choreography, which at times borders on interpretive dance. In turn, Magic Happens possesses a keen awareness of dance as a language. – Los Angeles Times