Articles filed under Artistry

  • Letter to a Young Dancer


    Choreographer and 2011 Dance/USA Honor recipient Lar Lubovitch recently composed this letter to an anonymous young dancer. It should be required reading for anyone who wishes to dance. Just as he choreographs, Lubovitch writes, too, with great humanity and understanding of an emotional inner life residing within each of us. Read on.

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  • LEADERSHIP CORNER: Katherine Brown, Executive Director, New York City Ballet


    With this interview, From the Green Room inaugurates a new series, the Leadership Corner, featuring one-on-one conversations with top leaders in the dance field. Katherine Brown is executive director of New York City Ballet, and in that capacity oversees the management and administrative functions of the ballet and the David H. Koch Theater and manages a budget of approximately $77 million.

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  • Company Spotlight: Winifred Haun & Dancers


    The first in a series on Dance/USA’s From the Green Room focusing on member dance companies and their model programs. This month we look at Chicago’s Winifred Haun & Dancers, a small company that has evolved to make long-term, larger projects reflecting the choreographer’s artistic curiosity.

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  • Dance and Computer Gaming


    Dancer, choreographer, and assistant professor of computer game design at George Mason University Boris Willis explores the relationship between game design and modern dance choreography. Learn about how the principles that make good choreography are the same as those that make good video games. A game of PacMan will never be the same.

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  • World Ballet Day and Sustainable Audiences:


    October 1, 2014, was a big day for the dance field. Around the world, five of the world’s best ballet companies joined together for a full day of behind-the-scenes live streaming on YouTube featuring rehearsals, interviews and company class. On the same day, the Wallace Foundation announced a six-year, $40 million initiative to support building audiences for sustainability. While I wondered if the planners of the two events were each aware of the other, I also found myself staring at the negative space between the two and wondering if anyone else noticed the solution to be found within. Combine these two events with Dance/USA’s recently announced “Call for Questions” for next year’s conference and I figured it would be as good a time as any to posit a few questions that I know are seldom asked (or answered properly) across the arts community.

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  • Everybody Knows This Is Now Here:


    The Mountain Empire Performance Collective explores ways of making work beyond geographic limitations. Utilizing both traditional and contemporary methods of communication, including video chats, telephone calls, letter writing, emails, and traditional methods of working together face to face, they make works that test the limits of communication and technology. Read Eliza Larson and Rachel Rugh in a collaborative piece that replicates in written form how they choreographically merge ideas and movements across the country. Technology, initially a means to an end, has become an integral part of the choreography, both in process and in performance. Read how they do it here.

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  • Performing Tradition, part 2


    The past decade has seen the emergence of interesting hybrids between old and new technologies and aesthetics. An example is the evolving phenomenon of house concerts -- small, acoustic music and dance performances held in private homes. The ambiance is informal. Usually the audience is limited; anywhere from 10-20 people, who contribute a comparatively small fee for the privilege of hearing music up-close and personal. These events are rekindling what music must have been like when it was enjoyed socially in people’s homes, and yet they thrive in the era of social media, and are marketed via Facebook, and captured and shared using Instagram, Vine and other media outlets.

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  • Performing Tradition, part 1


    If there is a single question that bedevils nearly all the dance communities I have encountered, it is the quest for authenticity. So many of the dancers and musicians I have worked with talk about “balancing tradition with innovation” that it feels a bit trite. Countless bios I have read include some variation on that phrase. And the thing that strikes me as weird about it is that there is an implicit assumption there that tradition and innovation are somehow at odds. Read more about building a traditional dance career in the 21st century.

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  • First Steps for Artists in Creating Artist-Driven Archives


    The hows and whys of getting started in planning and building your own artist-driven archive.

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  • Choreographing Archives: An Artist-Driven Approach


    Traditionally artists have donated their archival materials to institutional repositories once they reach the final stages of their careers. But with the advent of technology, the change in archival institutions and funding, this model is beginning to shift as more artists see the value of holding onto their collections. Read on to learn why this generation of artists is seeking new ways to preserve their materials and how a few have initiated the process.

     

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Covering the business of dance for dancers, choreographers, administrators, dance organizations and foundations with news, commentary and discussion of issues relevant to the field.
Editor: Lisa Traiger

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