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.
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
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.
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.
While many popular culture observers assume the recent upsurge in competitive dance programs on commercial television is the result of the current reality TV trend, televised dance competition shows have a long history in the United States, dating back nearly to the birth of the television age.
A sample letter to aid in requesting music rights from publishers and/or composers.
Critics are not there to serve the dance community or particular artists. They are there to join in—lead, maybe, in a dominant paper—a wider conversation and shared enthusiasm about the art form.
Perhaps then, teaching dance-lovers the importance of entering the conversation may be a better project to undertake. Dance writing, whether it appears online or in print, begs a response from the community. With the advent of new media, dancers, choreographers, and dance enthusiasts have more opportunities than ever to share thoughts and opinions and so sustain their field.
After more than 40 years, the dean of American dance critics, Deborah Jowitt, has written her last review at The Village Voice. Here are the reasons why.
Criticism and critique are based on personal standards and opinion. Opinion is fine, of course. However, when you apply your standard to others, at best, you should arrive at “like” and “don’t like” rather than “wrong” or “right.” Someone’s impression or perception of a subject reinterpreted through their art can be appreciated, unappreciated, liked or disliked, but can’t be wrong.
