An MP of the Salafi-oriented Nour Party called for banning ballet in Egypt, describing it as “the art of nudes,” while another MP from the Salafi-oriented Asala Party suggested disbanding the National Council for Women (NCW).
Salafis have an ultra-conservative understanding of Islam. The Nour Party, established after the 25 January revolution in the coastal city of Alexandria and officially recognized on 12 June 2011, was the first Salafi political party founded in Egypt. There are currently approximately 8 Salafi parties in Egypt.
Wednesday, May 29
Posted 29 May 2013 - 11:54 AM
Posted 29 May 2013 - 11:55 AM
The selection of Faile is something of a masterstroke on NYCB's part. For ballet companies to survive they must foster new audiences and continually establish their relevance as leading art institutions. For its part, Faile is reaching beyond their current comfort zone to embrace something totally new to them. On a recent visit to their Brooklyn studio, Patrick Miller escorted us through their works in progress for their second upcoming Art Series at NYCB's Spring season and explained their thought processes.
Posted 29 May 2013 - 02:24 PM
Polunin, 23, is slated to appear in Coppélia with Russia's Stanislavsky Ballet during a six-performance run at London's Coliseum in July.
"I'm delighted to have another opportunity to dance at the Coliseum," he told reporters on Tuesday. "Coppélia is one of my favourite ballets and I will be there."
Posted 29 May 2013 - 02:28 PM
But a cause that's especially close to Ruiz's heart is to provide the same type of leadership she was privy to as an adolescent for young women today. As a graduate of Leadership Austin, Ruiz served as a member of the Leadership Austin Board of Directors and co-founded the principle-based curriculum for the Teen Leadership Austin program. She's also provided the research and development for the nationally replicated youth-oriented social service programs.
Posted 29 May 2013 - 02:32 PM
The epicentre for this week’s centenary revels is the place where it all began: the Théâtre de Champs-Élysées in Paris, which hosts a roundelay of Rite interpretations that includes a recreation of the original choreography performed with Valery Gergiev and the Mariinsky Theatre Orchestra and Pina Bausch’s version, part of which appears in Pina, Wim Wenders’s recent documentary about the late Tanztheater Wuppertal director.
Homemade videos to the music, solicited by National Public Radio.
We can't say enough how much fun these have been to watch, and we hope you've had a lot of enjoyment making them. Your collective creativity and love of music are amazing. We've put together a handful of our favorites: They're beautiful, goofy, clever, thought-provoking and just plain funny — and more often than not, a combination of all of those things.
A review of a new recording by Simon Rattle and the Berlin Philharmonic.
As I expected, Rattle and his Berliners give excellent accounts of Stravinsky’s compositions, though Rattle’s Rite lacks much of the primitive rawness and mysterious immediacy of what’s perhaps my favorite recording of Stravinsky’s masterpiece: Valery Gergiev’s with the Kirov Orchestra on Philips (289 468 035-2) from 2001, which is paired with Scriabin’s Poem of Ecstasy.
Posted 29 May 2013 - 02:35 PM
Fleeting glorious moments opened up amid the shuffling of bicycles, mad surgeons and beautiful, if enigmatic, graphic effects. But the simple story of the outsider Raven Girl, half-human, half-bird and searching for identity, got lost amid a cluttered plot that severed any sense of emotional connection.
Posted 29 May 2013 - 05:20 PM
Osipova, too, tended to separate Kitri the character from Osipova, the phenom, and danced with a rather determined expression, as if Kitri were a Myrtha wannabe. Rarely have I seen such centered, fast, and accurate fouettés, but they left rather a sour aftertaste, as if they were just another trick to fling at the audience. The moment that lingers is the memory of Kitri gently kissing the Don as thanks for his help, a tender and generous gesture that brought to mind the fresh young dancer I remember from 2005.
Posted 29 May 2013 - 05:21 PM
As the play continues, themes are explored: the idea of what makes a homeland, a culture, or an artist. Dreams are teased out to live or die when exposed. “Nikolai and the Others” is not a French pièce bien faite with conflicts, revelations and plot hinges: this is “The Seagull” in Westport. Sometimes it's touching, but often it drags.
Posted 30 May 2013 - 05:24 PM
All these ballets challenge dancers. I took particular pleasure from the young team of four men and four women in “Interplay.” Three of these men — Harrison Ball, Joseph Gordon, Peter Walker — joined the company as apprentices in 2011 and as members in 2012. For Mr. Gordon and Mr. Walker, these are their first featured roles. They’re both very appealing: the fresh-faced, buoyant, sandy-haired Mr. Gordon with his deft series of air turns, and the tall, skinny dark-haired Mr. Walker, who partners the more experienced Brittany Pollack, in “Byplay,” the ballet’s duet.
Posted 30 May 2013 - 05:49 PM
This is where Garry Stewart’s Monument premiered and paid a unique tribute to Giurgola’s beautiful building, Parliament House.
Just like Canberra’s landmark, which was built and designed to last for 200 years, this ballet will last as long and we’ll be able to say in our dotage how proud we were to be there for this opening night to marvel at the marriage of classical architecture and classical dance.
Posted 01 June 2013 - 10:34 PM
The ROHM is also bringing back some musicians who were big favourites from the past seasons. They include cellist Yo-Yo Ma, Lebanese diva Magida El Roumi, the Mariinsky Ballet, and the Vienna Philharmonic Orchestra, which will play for the Vienna State Opera's production of Mozart's opera The Marriage of Figaro.
The ROHM will continue to promote Omani artists, too, with performances to celebrate Omani Women's Day and military music from Oman's Royal Guard.....
Posted 03 June 2013 - 01:28 PM
“I felt we needed a professional company here in Lynchburg,” says the former American Ballet Theatre soloist, who founded Dance Theatre in 1999 after a lifetime of dancing and choreographing.
Growing up in New York’s Bedford-Stuyvesant neighborhood, Lee began dancing at 3 years old and, as a teen, attended the High School for the Performing Arts.
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