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[dirac]

The ballet teacher Tanya Pearson is honored in Sydney.

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Former pupils who performed at the gala included Australian Ballet principal Lucinda Dunn, Priscilla Tselikova (nee McDonald) of the Hamburg Ballet and Stephanie Hancox of the Bavarian State Ballet, and Seaforth ballet dancer Evan Loudon, now studying at the Royal Ballet School in London. The gala was organised by Mrs Pearson's daughter Nicole Sharp and choreographer Paul Boyd, with a narration by ballet veteran Colin Peasley.

[dirac]

Naples Ballet enters into a partnership with the Children's Museum of Naples.

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C'MON and Naples Ballet have signed an agreement to promote a Museum Arts and Cultures Partnership Program, by which both organizations commit to grow their community outreach and help enrich children's lives.

[dirac]

From the Philly Fringe Festival blog, an article on dance and injuryby Sarah Jordan.

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Many young classical dancers will push past the levels of their training to perform challenging choreography, and set themselves up for ticking time-bomb injuries. Forcing turnout (the rotation of their leg outward at the hip) beyond normal range can eventually cause stress fractures in the spine or knee issues; going on pointe without necessary foot and ankle strength can create tendonitis, stretched ligaments, and bone spurs; improperly strengthened lower abdominal muscles and hamstrings can lead to their own chain reaction of problems. Dancers dance through the pain for their art—and often for fear of losing work or being branded as a dancer who is “injury prone.” According to the US Department of Labor (Bureau of Labor Statistics), 90 percent of all dancers get injured.

[dirac]

Nancy Wozny goes backstage with several Houstondance troupes.

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There are many reasons to drop into rehearsals at Houston Ballet, often it's to watch a dancer that I'm writing about in Dance Magazine or Pointe Magazine. Watching a new work is the most fun. I crashed several of Nicolo Fonte's rehearsals while See(k) was being made. Fonte used all the nuances the dancers added in making the piece. That's the stuff you never know about unless you are in the room with the choreographer.

[dirac]

A review of Jonah Bokaer's "Curtain" by Deborah Jowitt in her blog, DanceBeat.

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Bokaer’s brief program note encourages viewers to engage with what’s there before them, rather than what’s not there. This could be an oblique reference to Hallberg, of course, but it also applies in a curious way to the piece as it must first have been conceived by Bokaer in collaboration with artist Daniel Arsham. It’s full of appearances and disappearances, things half-seen in darkness, objects disintegrating, images that vanish or coalesce, sounds we can’t hear, silences, absences. Several times over the course of the evening, Bokaer stretches out his fingers, then lets them curl, but they droop before the hint of claws becomes a reality. How can you not see what you’re not seeing?

[dirac]

A profile of the dance teacher April Berry. Photos and video clips

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....She also studied at the Dance Theatre of Harlem and School of American Ballet. By the time she was fifteen, she was dancing with the Long Island Ballet Theater company.

Over time, however, she found that her tall stature was better suited for modern dance. At 23, she joined the Alvin Ailey American Dance Theater. It took her a year to fully adjust to modern dance. When she did, she became a principal dancer. She performed with the company for eleven years. It was during that time that she began to teach.

[dirac]

The Irvine Barclay Theatre concludes its contemporary dance series. Item in brief with photo of Carla Korbes and Fabrice Calmels.

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The Irvine Barclay Theatre's contemporary dance series whirls on with "Southland Ballet Academy: Summer Ballet Intensive Performance" and "Festival Ballet Theatre: Gala of the Stars."