drval01

Just some quick offerings: Moonstruck The Bridges of Madison County The Quiet Man

My understanding is that SERBA -- the birthplace of regional ballet -- did not want to replace the B with D. That is to say they did want to replace ballet with dance.

For the modern choreography, Jackson requires written permission both from the choreographer AND the copyright holder of the music. The first is fairly easy to obtain (assuming, of course, the dancer is working directly with the choreographer). The second (i.e., obtaining rights to music) is rather tedious and at times downright expensive.

Regarding the 70s: It was a completely different environment of public spending.

I cleared cookies and passwords like you suggested several days ago with no luck. Still, something must've changed because the problem is all cleared up now!

I'm using Mozilla/Firefox version 1.0.3, and it began happening 5 or 6 days ago. I also use the same version of Firefox when I browse BT4Dancers.

Is anyone else experiencing this phenomenon? Even though I haven't changed any "cookie" setting on my computer, every time I come back to BT I have to re-log-in. I always click the "remember me" box and I am not having this problem when I log into BT4Dancers.

This article is dated, published in 2003, and given the pace of scholarly review was likely submitted at least a year prior. In this light, the secondary sources seem current enough. The article itself is the handiwork of a graduate student and smacks of it. But who can blame Ms. Kelso when the only way one gains working papers for the university is through publication in similar journals of suspect value? In this quest, the wise graduate student knows the more contraversial the essay the greater the chance of publication. If there are issues here which deserve a delicate hand and discerning intellect --- and by all means there are --- then perhaps we should look elsewhere.

Thanks for the update. I notice that the neither of the web sites have been adjusted to show these recent changes, although I did see that Marifé Giménez and Douglas Gawriljuk are no longer on the Maximum page. Do you perhaps know where they ended up? Miami City webpage: http://www.miamicityballet.org Gamonet/Maximum webpage: http://www.maximumdancecompany.com/index-main.htm

When an award or recognition at a ballet competition comes with a cash prize, is it customary to give some or all of this money to the coach? [it's been a while since I've posted and --- in the interim --- the "Ballet Competitions" board was archived. If this is not the correct board for this topic, perhaps an admistrator will move it.]

When I was in graduate school -- oh let's say about 15 years ago -- I would wander around with eyes glazed asking anyone who would stop long enough to listen: "What is postmodernism?" In all my years of asking, I never got any answer that made enough of an impression that I could even remember it once I had staggered away. The more knowledgeable would mumble something reverent and point east, in the general direction of Duke University, where the nearest guru of postmodernism, Stanley Fish, took up residence. In time I stopped asking, because I had settled in my mind (1) that postmodernism was so idiosyncratically used as to defy common definition and (2) that it was a transition term for an age that had not named itself. I’m not sure where usage of the term stands in the aesthetic world, and even less so in the field of dance. Artistically, the most I can gather is that postmodernism represents the final coup d'état over what I have called "the tyranny of virtuosity." The problem is that postmodernism replaces virtuosity with nothing — or, worse, with the tyranny of self-esteem. But, as noted, these are personal conclusions, and I’m certain the term is more canonized in general artistic use. Still, I would guess nonetheless that even in this context its staying power will be very short indeed. Finally, I can report that at least in the field of social theory "postmodernism" is very rarely used anymore, for the post-modern age has found an identity: Globalism.

Osipenko has a continuing association with Vladimir Issaev's company, Arts Ballet Theater in North Miami Beach, FL. She teaches from time-to-time and participated in this past summer's intensive program. Try as I might, I could not convince my daughter to attend after coming home from her regular summer program, a missed-opportunity I'm certain she'll regret when she's older. At any rate, Osipenko is listed as a faculty member for the company: http://artsballettheatre.org/artisticstaff.htm

That's a topic unto itself.

It seems in copyright discussions nowadays the "private interest" side of the debate has all the muscle. The commonwealth side --- the side that argues for the timely passage of material into the public domain --- has virtually no able spokesperson, very much like present society in general which struggles under the collective weight of private interest. Frankly, if copyright law exists to nurture creativity, I never did see how the passage of copyright to heirs and other false entities does anything but discourage creativity by encouraging the bequeathed to rest on their big, fat endowments.