Dance/USA remembers Frederic Franklin, one of the United States’ great ballet dancers, teachers, stagers, and ballet masters. His career spanned much of the 20th century. In 2008, Franklin received the Dance/USA Honor award for his “extraordinary leadership in the field through artistic excellence and force of vision.” Franklin died on May 4, 2013. From the Green Room reprints excerpts from an interview by long-time critic and dance writer Mindy Aloff conducted in 2008.
Articles Tagged as Dance News
Twenty Dance/USA members receive nearly $1 million to support innovative audience engagement activities that will serve as best-practices models for the field. Read on for details of the grant recipients.
December 27, 2012 · 2 Comments
On September 5, 2012, the seven-member New York Court of Appeals heard
Nite Moves’ legal challenge to the Tribunal’s decision that exotic dance
was not a live choreographed performance and consequently exempt from taxation as stated in law. Read Judith Lynne Hanna’s account of this intriguing case and the ramifications it could have on the dance community.
December 26, 2012 · 7 Comments
Rooted in Middle Eastern belly dance and an American tradition of
parody, namely American burlesque, striptease and exotic dance are a
form of dance and theater art. While somewhat “risqué” or “naughty” with
its adult play and fanciful sexualized teasing that transgresses social
decorum and dress codes, exotic dance is, like all dance, communication
and a learned skill with its own aesthetic. So the question
arises: how far removed is exotic dance from the world of artistic and
concert dance? For a discussion of the recent Night Moves exotic dance court case read on here.
As we observe this year’s crop of candidates vying for leadership roles, we look for the details but also for the overarching dance each one is performing. Even in solo roles — for example a politician’s stump speeches or debate performances — they are part of a larger choreography that includes others and, of course, a relationship to the audience.
September 11, 2012 · 1 Comment
While funding for the NEA continues to be a flagship issue for the arts community, alternative proposals to the current charitable giving incentives could impact a larger number of dance organizations. It surprises many to find out that the majority of Dance/USA's visits to Capitol Hill are to talk about charitable giving incentives.
March 20, 2012 · 2 Comments
I believe dancers are losing pace with their historic and artistic companions. The musicians’ protests last week against Paul Taylor Dance Company highlight the economic challenges facing today’s performing artists in New York City. Larger questions about wages, work, union representation, and economic resources for all of these artists must be answered — but especially for the dancers.
Sharon Luckman on Strategic Planning, Branding, Development, and Keys to the Ailey Company’s Success
On Jan. 25, 2012, the Alvin Ailey Dance Foundation announced that its executive director, Sharon Gersten Luckman, would be stepping down in 2013 after 16 years as executive director and 20 years with the Ailey organization. Dance/USA's From the Green Room asked Luckman to reflect on her accomplishments as well as challenges facing the Ailey company and the dance world.
February 16, 2012 · 1 Comment
Dancing is an art that takes a lifetime to perfect – and just a moment to lose. In fact, more than 80 percent of dancers experience injury during their careers, with some grave enough to end an individual’s role as a dancer forever.
It is these numbers that make those behind the stage question what steps need to be taken to improve the dance floor – the integral component of a dance environment – to protect the welfare of performers and ensure they have long, healthy careers ahead.
January 24, 2012 · 3 Comments
Artistry doesn’t come out of thin air; it evolves by being nurtured, sweated over, re-worked, perhaps a little bloodied, and revived. Believe it or not, sometimes art needs to fail. Jennifer S.B Calienes, director of Tallahassee’s Maggie Allesee National Center for Choreography, one of our nations top-tier dance residency programs, says of necessary artistic failures, “Some of the best work dies ... but it is critical that (dance makers) have that time and space to think, develop, edit, and hone.” These efforts are called the artistic process.