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.
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.
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.
You might have heard the saying: “Those who can, do; those who can’t,
teach.” In fact, if you’ve worked in the arts, not only have you most
likely heard this, but you might also consider what I feel is the
implied third part of this phrase, “Those who can’t do either,
administrate.” This article is ultimately about arts administrators; read on for more.
The period between Black Friday and Boxing Day is
commonly the most financially rewarding for big and
small businesses alike. Ballet is no exception. During this period, ballet companies
across the country throw their biggest annual holiday party, which helps keep many a ballet company afloat, providing essential operating funds.
Just as big and small businesses benefit from holiday spending,
freelance dancers like Barry Kerollis benefit from The Nutcracker. Read on to see how this Philadelphia-based dancer navigates the ups and downs of Nutcracker madness.
I am passionately in love with being onstage. It’s terrible. The
can’t-eat-can’t-sleep-euphoric kind of love. When you find that love
early in life it’s hard for much of anything else to stand up in
comparison. And when it does, you fall in deep because that’s the only
way you know how.
“Outside of change, the only constant in art is community,” writes choreographer, dancer, and educator Helanius Wilkins. Read more about his thoughts on creating conducive artistic communities by working collaboratively and symbiotically with fellow members of the creative class.
Joan Myers Brown has had an extraordinary career. The founder of Philadanco!, one of Philadelphia’s preeminent dance companies, as well as the driving force behind both the International Conference of Black Dance Companies and the International Association of Blacks in Dance, Myers Brown has lent her artistic guidance, her nurturance of many dancers and
choreographers, her visionary leadership and grace under fire to many in the dance
field. On June 13, she will be honored by Dance/USA for her contributions to the field. Read this personal account about Joan from long-time Philadelphia dance critic Merilyn Jackson.
On Thursday afternoon, June 13, during Dance/USA’s 2013 conference in Philadelphia, Barbara Weisberger, respected doyenne of dance, will
receive the Ernie from Dance/USA for her visionary leadership and contributions to the field. The prize,
named for the first recipient, Ian Ernie Horvath, arts advocate, dancer,
and founder of the Cleveland Ballet in his native city, is fitting for Weisberger as Horvath was both a colleague and a friend of hers. Read more about the woman who was Balanchine’s first child student and later the founder of the Pennsylvania Ballet.
Get to know Aaron Dworkin before he gives the opening plenary on Thursday, June 13, 2013, at 9:30 a.m. at Dance/USA’s 2013 conference.