Dance_Scholar_London

The Society of Dance History Scholars has a new 'Practice-as-Research' in Dance working group. I am founder and chair of this new working SDHS working group which investigates dance practice as a research tool, and aims to understand underlying epistemological issues which can only be generated through a practical approach to studying dance. 'Practice-as-Research' (or sometimes 'Research-into-Practice', 'Practice-based Research', or 'Performance-as-Research'), in a performance studies context, is a methodology exploring the close relationship between theory and practice as forms of research. The focus of this group is discussions and exchange of information concerning Practice-as-Research in university instructional settings. The group shall serve as a platform to share knowledge, goals, strategies, materials and research ideas. All those with interests in Practice-as-Research are invited to join the Practice-as-Research working group. The group will meet during the SDHS conference in Banff for the first time and will remain in touch throughout the year via email. The society has a considerable number of researchers in the field of ballet. Practice-as-Research in Ballet is a new and exciting field and offers opportunities to investigate ballet from a practical side (unlike dance history studies). Please find more info here. Please no PMs on BA about the group but please follow the links and drop me an email

Do you think we are moving away from high extensions and emphasise more artistic skills rather than technique in the future

I always wondered when a dancer does a double fouette is it counted as one fouette or as two? The actual whipping-movement is just done once in a double or triple fouette... so is it counted then as one or multiple? :-)

When did this happen?

Were there not some very young Russian ballerinas in the past who could do 64 fouettés in the past? Though this was not in Swan Lake...

Sorry for bringing up this old post but I am interested in Suki Schorers book on Balanchine. Are all her books about how to teach Balanchine technique or does it involve cultural aspects as well? I am also interested in her book on pointe work. :blush:

So true. After seeing the high extensions of the dancers I will put some more effort in mine. They had sooooo beautiful legs :yes:

I saw the performance on Thursday and I loved it. I was in the front row, surrounded by a rather mature audience (55+) and most of them did not enjoy it a lot. I think they were expecting something more classical - and not neoclassical. The older couple next to me did even no clap!! I love NYCB dancers, they have extraordinary bodies, especially the girls. I did not enjoy "circular motion" so much. The choreography was rather simple and monotonous. "halleluja junction" was great. Very "speedy" :rolleyes:

The original story-line of "The Wise Virgins" from William Walton is based on a biblical parable (of the foolish virgins). I have recently re-choreographed the complete ballet with a complete new storyline (though not related to the bible). It might be interesting for you to compare both :-) Feel free to email me - I am much more active on the dancer board but you should have my email from previous post over there.

Mel, I have concerns about the educational aspect of this Barbie animation. Actually, it reflects a highly unrealistic world of ballet. Young kids are dancing on pointes, commented by a girly voice "Look how she can dance on her toes". In her previous animation "The Nutcracker", the educational value is also doubtable as the computer-animated film does not reflect a healthy training method. In the final scene of the Nutcracker, Barbie and Shelley, who is apparently not older than five or six years of age, are dancing together in the ballet studio. Although Shelley dances 'only' on demi-pointe, they perform the same step combinations such as pas de chat, pas de bourrée and even pirouettes. Every serious ballet dancer knows that it will take a couple of years of disciplined training to perform in a way that is reflected in this production. From an aesthetic point of view, is it reasonable to put Barbie and her friends on pointe or would it undervalue the art of ballet? In every ballet book it is argued that too early pointe work will lead to severe health problems... Is Mattel Entertainment simply not aware of ballet technique or is the aesthetic pointe work more important than health? :cool2:

I just found this old post about pointe shoes as fashionable shoes in the archives. As a fashion historian, I would like to add that fashion pointe shoes are more look-alike pointes in stead of traditional flour-and-paste pointes. At the end of the twentieth century, the fashion industry has picked up the idea of ribbons and look-alike pointe shoes and designer brands such as Manolo Blahnik, Sonia Rykiel, Etro, and Blumarine have used the pointe shoe style to create “ballerina” fashion shoes. Even pointe shoe manufacturers, such as Gamba have followed the trend and created a line of street look-alike pointes. Anybody who knows the Gamba shop in London: they have currently decorated their shop window with their look-alike pointes (with ribbons). (July 2004)

I was watching Barbie in Swan Lake a couple of days ago and was wondering about the ballet scenes. Do they objectively reflect ballet steps - it seems that Barbie has a bad turnout although she knows her steps! I would be delighted to get some opinions about Barbie as a ballerina. Should Barbie be animated in a ballet movie? Will she inspire young girls to become a ballerina? Or does she represent an unrealistic image of the ballet world?

You are right, it was last performed in the 1940s - and it had 9 tracks of music, 3 of them are lost, which makes now around 20 minutes of ballet. I have a cast of 3 girls and 1 guy. Rehearsals will start tomorrow and the story-line will be created within the rehearsal space as part of my research in creativity. There will be a lot of "gestures and arm movements" - music is very slow and baroque-like. I have hired a mime teacher to train some gestures and facial expression. :-)

Actually, I am talking about the Ashton choreography, but as far as I can read from my documents, it was first performed in April 1940 at Sadlers Wells - I dont think that it was performed until the 70s... but it would be great to find out if this information is correct. I will check the reference that you gave me. Thanks Jane

Be also careful with the metal - if it is too humid you will have stains of rust in a very short time. Best would really be to ask at a local museum about storage possibilities - costume historians are usually quite helpful. Let me know if you find something out about its heritage B)