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And speaking of Gallim, you can see them at Jacob’s Pillow this summer, week 3, July 8-12. You can also see them on the Jacob’s Pillow Twitter feed. I’m not totally clear if this is the official JP Twitter account or just their PR manager’s though…
Wow, the Gallim/K Swiss ad is really well edited. It’s true, if you’ve seen a lot of their rep than you will recognize a lot of the movement in the video. Let’s hear it for Vimeo’s HD embedding too. The photos are also by Zach Gold, who we linked to a couple of weeks ago. via Dancing Perfectly Free
-Roslyn Sulcas in Left Field Revival, New Chamber Ballet, Odadaa! - Review - NYTimes.com
Again, I think she is missing the point of New Chamber Ballet. Adding a lot of tech wouldn’t really add value to the production. It’s about essentials.
Miro Magloire’s New Chamber Ballet returned to the City Center studio’s last weekend with a four-piece program including two World Premieres. In an age of recorded music, (an epidemic worsened by hard economic times) Magloire’s company continues it’s commitment to accompaniment by live musicians on stage. New Chamber Ballet reminds us what is enduring about the art form rather than the trappings of ballet. With its focus on essentials and elegant accompaniment, NCB performs without stage lighting or technical elements and with minimal costumes.
Two commissioned from Deborah Lohse (Artistic Director of Ad Hoc Ballet) with original score by Stefan Weisman is a duet for two women which opens the evening. Emily SoRelle Adams begins by tracing her own body with her fingers and then to transfer the shapes into the space beside her. Her hands seem to be conjuring another body out of the thin air. Emery LeCrone joins the piece perhaps as the summoned being and the two create an intimate and mesmerizing duet until LeCrone exits leaving Adams to continue her methodical tracing.
Magloire’s training as a composer is evident throughout the remaining three pieces in the evening. Using scores ranging from Telemann’s Fantaisies for solo violin to Morton Feldman’s Extensions and Projections, Magloire shows a highly developed sensibility for scoring. As a choreographer, his relationship to the music is often complex, neither allowing the score to dictate the movement nor fighting against the score for dominance. This relationship produces some mixed results.
Echo, Magloire’s premiere on the program for five dancers struggles to become a unified piece and only partially succeeds. While each movement stands well on its own, they don’t combine well with the music and long stretches of silence. Monologue also shows Magloire’s ingenuity at inventing movement but the piece doesn’t seem to fully gel. Elizabeth Brown’s solo is danced very well and the movement “accompaniment” by Emily SoRelle Adams and Madeline Deavenport has some evocative moments but taken as a whole, it is more of a single mood rather than a linear piece. Aeolia overcomes both of the shortcomings that hamper the middle two works. The allegro for five dancers is well composed, making good use of canoned movements.
Miro Magloire’s vision for the revival of chamber ballet is a huge asset to New York City. His artistic devotion to the elements that make ballet unique as an art form over the externalities that often overshadow it is a welcome reminder.
You know what else is hot this week? Ballet Tech’s mandance project. Eliot Feld’s collaborates with the company HORSE from Taiwan for three World Premieres.
Dust is a visually stunning solo for Wu-Kang Chen that takes place in a storm of flying debris blown about by 36 fans. Another new solo, Radiance, is a dance about dancing, created for Ha-Chi Yu, who went through the Ballet School school and into the company. The season’s third premiere is The Spaghetti Ballet for Ha-Chi joined by two dancers and several children from the Ballet Tech School. Mimi Lien has once again created a superbly clever set for this dance/theater work, set to the familiar movie music of Ennio Morricone, composer of many scores for Italian “spaghetti westerns.” Completing the program is one of Feld’s solos to music by Steve Reich: Proverb, premiered in 2004 by Sean Suozzi, here danced by Wu-Kang.
Tickets: $19-$49 at The Joyce.
I hardly ever agree with Gene Carr from Patron Technology mainly because I think he applies late 90’s internet enthusiasm to arts marketing. This is another great example. “I’ve been more and more impressed with the potential of Facebook every month.” Really? Are you impressed with its potential? How about realizing that Facebook is a ‘has-been’ and trying to catch the next wave.
If Facebook marketing is already a part of who your organization is, as in you already have people on your staff who are avid Facebook users and know their way around, then go for it. It will be a natural extension of your organization into the internet. If on the other hand, you need to read this blog about marketing on Facebook, complete with a ‘Facebook glossary’ you should probably realize that you don’t ‘get it’, even if you think you do. It’s like teaching your 70 year old mother to use gmail. She might make it work but you know she thinks it a box of magic.
Facebook isn’t a marketing panacea. We’ve never seen hard numbers that show it sells tickets or even holds people’s interest. Sure, it’s free and easy but maybe your limited time would be better spent elsewhere especially if you are over 25 and weren’t born holding a Macbook.
If after reading all of that you still want to learn about putting your organization on Facebook, Gene is hosting a free webinar on April 2 @ 1pm.
These are senators who at least make a show of supporting cultural activities. By state, they seem to be disproportionally spread across New England and the West Coast. I wonder what that says about arts in the US geographically…
via InfiniteBody
Gap is turning its rotating concept store on 5th Ave. and 54th St. into a Tiny Dancers ballet studio in partnership with Ballet Tech, a tuition-free ballet school started by world-renowned choreographer Eliot Feld. On Wed., March 25, Gap and Ballet Tech will be opening their doors to NYC’s aspiring “tiny dancers.”
That’s pretty hot. I was a little confused about Gap’s motivations for this until I read this: “Stemming from Gap’s latest fashion trends for America’s little darlings, the concept store will feature Gap’s new ballet-inspired clothes and accessories, part of the upcoming babyGap and GapKids summer collection.”
Still pretty cool.
WHAT:
Drop-in, dress up and dance – Free weekend ballet lessons with NYC’s top Ballet Tech instructors.
WHEN:
Store Hours:
Wed., March 25 – Sun., April 26
Monday – Saturday: 10:00 a.m. – 9:00 p.m.
Sunday: 11:00 a.m. – 7:00 p.m.
Ballet Tech Lessons:
Time: 12:00 – 4:00 p.m.
Sat. & Sun., March 28-29
Sat. & Sun., April 4-5
Sat. & Sun., April 11-12
Sat. & Sun., April 18-19
Sat. & Sun., April 25-26
WHERE:
680 Fifth Avenue [between 53rd and 54th Streets], New York
[Adjacent to Gap’s flagship store]
That’s a very different kind of video trailer.
New Chamber Ballet is opening this week at City Center Studios with Two a new work by Deborah Lohse to a commissioned score by Stefan Weisman. The program will also include two works by Artistic Director Miro Magloire, Monologue and Aeolia. Like every company who has it together, you can see some video trailers of the works.
Tickets: $20 General Admission, $10 for Students and Seniors
Yeah, that is a really nice moment.
Maria is asking how long a quotation can be before it becomes content theft. This might be a good time to review some Fair Use Doctrine. Fair Use basically means that you can use other people’s copyrighted work for the purpose of news reporting or review as long as you’re not devaluing the original conent.
This complete ripping off of the New York Times on Dance Theater Workshop’s blog is probably not covered by Fair Use since they are devaluing the content on the New York Times site. The NYT was going to make money off of advertising when people read that content on their site. Now they aren’t going to get that revenue. That’s stealing. (This it probably a better example of how DTW posts reviews without stealing…)
Taking a few lines and providing a link to the full story is probably a good thing for the original content since it encourages people to read it in the original form.
Embedding a video is kind of a mute point since you’re not actually making a copy when you embed something. You’re actually just displaying a part of another web page on your page. You’re just showing something that already exists somewhere else.
(And like Marc, we’re not lawyers.)
Do you ever get tired of all the visual noise around YouTube videos? This bookmarklet removes everything but the video that you are watching. It’s a much more pleasant way to enjoy low quality videos.
That is such good news. Nothing is more annoying than the person in the center of the row who arrives 30 seconds before the curtain.
“Two “side aisles” will be added to the orchestra level, making it more convenient for audiences to get to their seats, but preserving the center section for ideal Balanchine viewing. Also, new seats will be installed.”
