The Game-ification of Dance: The Future Is Now
In the dance class of the future every student gets documented feedback on everything she does using the same technology found in today’s video games. The implications for the game-ification of dance are exciting and offer a glimpse of a future that marries artistry, gaming, and digital communication together.
FY12: Not Just About Appropriations
Funding for the NEA has been a flagship issue for arts organizations for years. Arts advocates must be spending their waking hours working to restore funding to the NEA so that we can continue to support the work of the non-profit arts community by funding the creation, presentation, and education of quality arts programs. This is serious, right?
Would it surprise you to learn that the answer to that is actually, “Yes, but ….”?
The Hundred Flowers’ Long March East: Achievements and Challenges of U.S. Dance Tours in China
While 2009 marked the 30th anniversary of Sino-U.S. diplomacy, dance exchanges between China and the U.S. continue to be a renewable theme. For both countries, cross-cultural dialogues in the arts offer significant potential for strengthening ties between people. Although in recent years, more U.S. dance companies have appeared onstage in China, due to many circumstances, the road to China is indeed long and full of obstacles.
The Hundred Flowers’ Long March East: Achievements and Challenges of U.S. Dance Tours in China, Part 2
Besides collaborating directly with Chinese dance troupes, U.S. repertory companies may tour in China by following the Department of State’s Administrative Regulations on Commercial Performances (in effect since 1997). Main steps include seeking a Chinese presenter and obtaining a performance license.
What Should a Dance Critic Talk About When She Talks About Dance?
What is the role of a dance critic? That’s a question I’ve been asking myself for a couple of weeks now, ever since reading an article on the front page of The Washington Post’s Style section in mid-October. The piece, by the paper’s chief dance critic, Sarah Kaufman, confirmed a hunch I’ve had for a while: Kaufman is making an occupation of not writing about modern dance.
The Importance of Being Still
Can you be still? I mean really still. For just 5 minutes. No scratching or fidgeting. Quiet the mind. Focus on the breath.
You might be saying that’s impossible, your day is already full with early morning planning and development meetings; answering emails and responding to social media; fundraising appointments; marketing strategy sessions; budget reviews; artistic decisions; production issues; and that grant application, it’s due by 5:00 p.m.
Copyright Basics for Dance Works
The creator of a dance work does not always own the copyright. This often comes as a surprise to the dance artist who has created the dance work or piece. In some cases other persons or entities own the copyright. In dance this can come back to bite a choreographer
Mother May I … Dance? Copyright, Fair Use, and Dance
One of the rights the owner of copyright possesses is the right to reproduce or to authorize others to reproduce his or her work in copies. However, this right is subject to certain limitations found in sections of federal copyright law. This article serves as a primer for dance artists and the area of fair use.
Buy, Borrow, Steal: A Hidden Homage in Beyoncé’s New Video
Beyoncé released her newest video, a little guilty pleasure called “Countdown.” The video is an open homage to a whole lotta stuff, from Audrey Hepburn’s dance scene in Funny Face to the seminal Vogue photo shoots of the 1960s to Twiggy’s distinctive makeup stylings. But thrown into the collage of-many-good-things-made-by-other-artists-a-long-time-ago is a one-to-one remake of Rosas Danst Rosas by Belgian choreographer Anne Teresa De Keersmaeker.
Modern Dance: Its Death and Regeneration
I’ve spent a lot of time worrying and writing about what is ballet and have grown tired of reading crossover choreographers say that their works are “firmly rooted in the classical tradition” when they don’t even give a nod to “the classical tradition.” I haven’t worried about modern dance because I believe at the center of its identity is that it must reinvent itself with every generation. Each generation has a right to do what it wants. So what does it want in 2012?