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Everything posted by sandik

  1. That's a very fluffy tutu, especially compared to the original version.
  2. sandik

    MCB program IV. Apollo, Concerto DSCH, La Valse.

    I envy you the experience with the old sets/costumes -- Pacific Northwest Ballet did a lovely production with the stairs and platform up until recently, when Peter Boal decided to present the current NYCB version. I understand it is the one he knows and likes to coach, but I do think that the birth scene gives a richer context to the work.
  3. sandik

    The Lilac Fairy

    Thanks for the link!
  4. sandik

    The Lilac Fairy

    Are you thinking of the 1959 version?
  5. This is a long-term problem that is being compounded by the current administration and their unwillingness to fill staff positions that have been running the machinery of government. While artists who come from countries that the US has problematic relations with have had trouble getting visas for many years, more recently that difficulty has been extended to artists from countries we are quite close to (including places like Canada). And as others have pointed out here, application errors that might have been overlooked or forgiven in the past are now used to send someone back to the beginning of the process, rather like a nastier version of Chutes and Ladders. Thanks for stepping in -- that is indeed what I meant. We have a tendency to think of Homeland Security as border agents with guns, but they administer all kinds of programs for people living in or visiting the US, including green card residents. They are also involved when US citizens apply for visas in other countries, especially with biometric information. Their mandate is much broader than most of us realize. There is an article in this week's New Yorker about a visa expediter in the US that specializes in popular music. It's more light-hearted than some of the other coverage I've seen, but the general sense that the process is capricious is pretty clear,
  6. I haven't seen much coverage about this yet, and haven't had a chance to talk with friends in the field. If anyone here sees any more coverage, could you please link it here?
  7. It's trickier with an arts applicant -- one of the criteria that the Homeland Security people use is if the applicant is a significant member of their field. That kind of proof in the sciences (especially in medicine) uses a different evidence set than in the arts. While I'm sure it's getting harder in the sciences as well as in the arts, I think that we still have the more difficult path.
  8. sandik

    Ballet & feminism

    In general, historically, women have been in the majority in schools and studios -- companies that grew out of those institutions generally began with female leadership, but often were transferred to men as time passed and they grew. There are plenty of exceptions to that model, but overall, it's the standard story. Part of this comes from the dynamics of non-profit organizations -- traditionally, boards of directors are more likely to be run by men as their aggregate budgets increase. Things get more interesting when you look at companies when they get to the division between artistic director and executive director. Pacific Northwest Ballet's current ED is a woman -- she came up through the organization and was promoted to this job when the previous (long-serving) ED retired. She has commented several times in public that when she attends meetings with her colleagues from other companies she is one of the only women in the room. There have been studies run on gender equity in non-profit management -- I don't know how many are specifically about dance, but there are a few out there.
  9. sandik

    Ballet & feminism

    I'm even more confused now.
  10. I don't know what kind of visa they applied for, but yes, the presenter is responsible for that task, which is becoming more capricious by the year. I've written about this a couple of times, and there's never a lack of "you have to be kidding" stories to illustrate the difficulties. Some arts organizations that make a practice of booking international artists have a specialist on staff whose primary job is shepherding these applications.
  11. sandik

    UNBOUND 2018: A Festival of New Works

    Agree about King's comment! Pacific Northwest Ballet recently hosted a panel discussion on contemporary ballet that was based on some of the works in the last couple of seasons (I'll post my notes when I manage to transcribe them). I hope that someone (or even better, several someones!) will post a report about this session here.
  12. sandik

    Ivor Guest has passed away

    I'm a little confused here. Are you saying that Alastair Macaulay reviews shows that he hasn't seen?
  13. sandik

    Ballet & feminism

    Some humans discriminate and some do not. Not sure what your comment about Gloria Allred here refers to.
  14. Right now, it still links to Legend of Love (for those of us who haven't watched it yet!)
  15. sandik

    Merce Cunningham Centenntial

    I'm hoping that someone in Seattle picks up on this -- it would be shameful to miss this opportunity.
  16. sandik

    NYCB 2018-2019 Season

    He's really shifted his base of operations to the US -- we're seeing much more of him that previously.
  17. sandik

    Swedish Academy in turmoil

    Oh dear -- very sorry to hear about this. I'm grateful for the heads-up, but so sad about the actual news.
  18. "Marian Hannah Winter" Yes!
  19. sandik

    Ballet & feminism

    One of the things I find interesting is that the works are just old enough for many of us to remember those times and have a sense of how those attitudes fit into the zeitgeist, but they can hold a mirror up to our concerns and actions from that time. My daughter and her cohort have different expectations of their world, but those requirements are built, in part, on the shoulders of the people who came before.
  20. The Ballet Russe is such a juicy topic, and has been a spark for all kinds of popular and scholarly writing. The centenary of the company shook loose a lot of primary source material, which is such a treat in a field where most first-person witnessing is in the wind. If you're looking at pre-Ballet Russe France, then you really are building on the foundations that scholars like Ivor Guest began. I imagine you're having a wonderful time with the topic. Many thanks for the references above (I hadn't seen a notice about the Caddy, but will head off to track it down), and do let us know more about what you've been working on.
  21. sandik

    Ballet & feminism

    I'm a bit older than the original audience for John Hughes' work, but they did feel truthful to my memories of high school life -- seeing a young woman who was learning to stand for herself was a compelling image back then. Especially in a world where the victims of rape were still routinely assumed to have been somehow at fault for at least a part of the experience.
  22. They danced it here in Seattle a couple months ago -- I liked it very much, although I had to adjust to the orchestrated variations on the score. So many of us (of a certain age!) spent hours and hours listening to that recording, it's odd to hear it through someone else's ears.
  23. sandik

    MCB program IV. Apollo, Concerto DSCH, La Valse.

    I'm glad that they've made that change -- I think it's a much more coherent version of the ballet.
  24. sandik

    Ballet & feminism

    I think we probably disagree on some of the other issues you discussed, but I wanted to thank you for the giggle here.
  25. sandik

    2018-19 season: Washington Ballet

    Pacific Northwest Ballet is running a fascinating series of audience education events this year, and the session last autumn on "The Business of Ballet" spent some time on this kind of scheduling. I posted a fairly long set of notes about it here, but the gist is that performance rights are negotiated with the choreographer or other rights holder, that they can vary widely but generally allow for a set number of performances over a set number of seasons. In the past, PNB would schedule something in consecutive years to take advantage of the retained knowledge of the cast, but more often now they try to negotiate for a five year window with at least a year between performances. From my notes: "Mullikin spoke in detail about licensing works. ... In general, PNB asks for a license to perform a work two or three times over a five year period – occasionally you really only want to perform a work once, but that’s the exception. Fees are usually between $10,000 and $50,000, but that reflects a variety of elements. A few works cost more than that – the most she would say is that they are a “substantial amount” Boal said that in the past a contract would usually be written for a couple of years, so that if you wanted to do a work in more than one program, you had to bring it back the following year, which didn’t really work so well for most audiences. Apparently Mullikin is the one who developed the “perform twice in a five year period” model, which is a big improvement."