3 replies to this topic

[Mme. Hermine]

Sarah Crompton interviews Sylvie Guillem for the Telegraph:

http://www.telegraph...-the-barre.html

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Some 30 years later she is still a world-class dancer, constantly performing around the world. She has moved, apparently effortlessly, away from ballet towards contemporary dance, retaining her excellence and her supremacy.

Yet her way of doing things has never been the same as other people’s – and it has led to a perception of her as capricious and difficult. Nowadays, nothing could be further from the truth.

[Mme. Hermine]

Washington Ballet's Andile Ndlovu is profiled in the Times:

http://www.timeslive...he-stairs-don-t

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Ndlovu has evolved his own style, and is starting to choreograph his own works. "Often you think of male dancers as being rigid and stiff, but I'm from SA and we don't move like that. We don't stop and go; we just go with the music. My style has more movement in it; I use movements from my culture in my contemporary work."

Says Webre: "Andile has taken Washington DC by storm. He dances with an intensity which is exhilarating. He is fascinating to watch. And he shows great promise as a choreographer - the work is pliant, inventive and highly personal. Andile will contribute meaningfully to the field over time."

[dirac]

A preview of New York City Ballet's Saratoga season by Samantha Bunn in The Albany Times Union.

http://www.timesunio...new-1450680.php

Quote

The season also includes Peter Martins' "Magic Flute" and Balanchine's "Apollo," while the Ballet Gala on Saturday showcases newer work: Benjamin Millepied's "Plainspoken," which premiered last fall, and Susan Stroman's "For the Love of Duke," which premiered earlier this year.

During the two-week season, Times Union staff writer Lisa Stevens will act as your guide with reviews of some of the key performances.

[dirac]

The Columbus State University Dance Conservatory offers classes for disabled children.

http://www.ledger-en...s-barriers.html

Quote

Tiffany Jarczyk, a pre-ballet instructor for the CSU Dance Conservatory, used techniques like a hula hoop with magic sparkles to teach Meera about personal space boundaries. She sometimes relied on a toy ring as an incentive to ensure Meera behaved well while standing at the ballet bar.

Beyond behavioral issues, there was a deeper question. In an activity seemingly defined by strict conformity, how would the other girls react to Meera?