‘Dancers’ Bodies, Promoting Wellness’: 3 Takeaways
We cannot change the need for relative thinness in this visual art form. But we can find better ways to communicate with the dancers, always aware of their vulnerability and always recognizing them as talented young people rather than body types.
‘Dancers’ Bodies, Promoting Wellness’: Let’s Talk Solutions
Dancer wellbeing represents a glaring and puzzling concern within the dance world. The physical and psychological health of dancers becomes especially tricky to foster within an environment where worth is often based on physical appearance. Many other factors, such as limited funding and resources, also complicate the matters, making it a difficult terrain for dance professionals to navigate.
Gaining Traction (or the Slip ‘n Slide) – Part 1
Warning to choreographers: hard work ahead. Yet, those who sign up to make dances are usually aware of the ongoing rigor involved on this path. For some artists, the mere question of how to gain traction draws silence, sighs, and even laughs, reflecting the challenging and individualized trajectory of choreographers. Illuminating current possibilities, a handful of voices from across the country share what has proved relevant to making progress and gaining momentum for creating new works in today’s challenging dance climate. Drawing from experiences of dance professionals and artists operating in solo, project-based, and company structures, Part 1 mines the personal qualities, practices, and DIY ethos of choreographers, and Part 2 (coming Thursday) addresses the role of artistic self production in the mix of platforms for delivering dance.
Next Steps: Dance Theater Workshop and Bill T. Jones/Arnie Zane Dance Company Merge
The dance community is taking a wait and see attitude when it comes to the recently announced merger between New York’s venerable Dance Theater Workshop and the Bill T. Jones/Arnie Zane Dance Company. And many observers say they are cautiously optimistic that the merger, unprecedented in the American dance world, will succeed at a time when so many groups and venues are struggling to survive.
Diplomats of Dance: U.S. Companies Step into Role as Cultural Representatives Abroad — Part 2
The U.S. State Department began funding international dance tours in 1954 when President Dwight Eisenhower created the President’s Emergency Fund for International Activities, which funded dance, theater, music and sports tours. (Prior to 1954, other government entities, including the CIA, provided occasional support for dance companies’ international appearances.)
Düsseldorf, Dance/USA, and the Case for American Engagement — Part 2
Increasing funding so that the Americans have at least a fighting chance of matching the support dedicated by other countries is one of the keys to ensuring a greater U.S. presence in the international dance world. It is also about stretching existing assets and using them in a smarter and more cost-effective fashion, collaborating to leverage new resources, and cooperating to share the knowledge, burdens, and costs that come with doing business.
Düsseldorf, Dance/USA, and the Case for American Engagement — Part 1
A number of U.S. choreographers and dancers continue to spend a fair portion of their time creating work and teaching in Europe—having decided that rather than sitting in America and complaining about how much more funding is available on the other side of the Atlantic, they’d rather crash the party and avail themselves of some of it. These resultant cross-cultural collaborative projects are a vital (perhaps even the most significant) part of the ongoing dialogue between the United States and the rest of the world.
First Lady Michelle Obama Expands the White House Dance Card
The White House billed it as the first dance event. Yet, the gilded East Room has hosted its share of dance over the years, including performances by American Ballet Theatre and Jerome Robbins’ Ballets: USA during the Kennedy Administration; Patricia McBride and a chandelier-grazing Mikhail Baryshnikov during the Carter Administration; and a strut-worthy cast of alumni from “A Chorus Line” glammed it up during Reagan’s Administration. In 1998, under the Clinton Administration, tap dance savant Savion Glover brought a band of rhythm tappers, old school hoofers like Jimmy Slyde, and Broadway legends Karen Ziemba and Bebe Neuwirth. Then in 2006 President George W. Bush and Mrs. Bush honored Arthur Mitchell by showcasing Dance Theatre of Harlem.
Diplomats of Dance: U.S. Companies Step into Role as Cultural Representatives Abroad — Part 1
Fifty years ago the U.S. government was one of the biggest promoters of American dance abroad. Over the past two decades, government funding for international dance tours by American dancers practically disappeared. Guess what? It’s back.