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sandik

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About sandik

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  • Connection to/interest in ballet** (Please describe. Examples: fan, teacher, dancer, writer, avid balletgoer)
    writer
  • City**
    Seattle
  • State (US only)**, Country (Outside US only)**
    WA

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  1. Mariinsky in London 2017

    Very glad to get a look at this!
  2. Yes, wow. And not in a good way.
  3. Fall 2017 Season

    If I had money, and could clone myself, I know where I would be.
  4. Mariinsky in London 2017

    That's my question as well -- is this new choreography, or is he ringing changes on the Bolshoi's current production?
  5. Eliot Feld

    Any one of those accomplishments would deserve the thanks of a grateful dance community, but put together they are the biography of someone who has made significant contributions to the field in his lifetime. While it looks like the bulk of Feld's choreographic work will not last much past the artist himself, I'm thinking that we are already the beneficiaries of his choreographic life, in that he created works that nurtured the dancers of his time, and helped the audience to see the shifting aesthetic. Many of us who live near a company with a resident company have this experience frequently -- while the dances that are being made are not necessarily masterworks, they are part of the body of dance at their time. Or as my sister says when she makes something new for her family, not every dinner is a winner. But I can't help being curious about these works in the past, both on their own merits, and as reinforcement for the developments to come. It's a self-reinforcing system -- dancers are trained to perform the works being performed at the time, and then become the material that choreographers use to make new works. What doesn't always get the same attention is that this also works for audiences. We learn to understand dances by watching dances -- and the dances we watch are the fundamental tools we use to understand other works we see later. I compare the works I see today to the works I saw in the past -- I may think they are "better" or "worse," but I use my early experiences as a landmark.
  6. As far as who does the traveling, I do know that several cities/arts agencies keep track of those numbers, and use them in civic discussions about arts support. In Seattle (my home town) our local opera company has produced Wagner's Ring cycle on a fairly regular basis -- it's an extreme example of an art work that people will travel miles to see, but even leaving it out, the local arts agencies have said that arts tourism generates as much revenue for the city as sports tourism on a regular basis (and sometimes outstrips it). So yes, there are people who are traveling to see dance, but that has a tendency to reinforce the idea that the arts are for those who can afford them -- not the policy I'd like to see supported. I'd have to do some homework to find more concrete numbers.
  7. Why So LIttle Massine?

    And now I'm wondering if there are any contemporary choreographers that people feel have a similar relationship with music?
  8. Eliot Feld

    "Narrator seems to out-Edward R Murrow Ed Murrow." Snark! "Making Dances" is indeed a wonderful film -- one of the best looks at the big names of post-modern dance. That, and the Dance in America documentary "Beyond the Mainstream" (which is very hard to find anywhere -- here's a tiny slice of David Gordon and Valda Setterfield in Chair) are excellent examinations of that time and those artists.
  9. I've been mulling this over, and I had a little epiphany about touring. Back when the big companies were appearing all over, they weren't organizing these tours themselves. There were organizations like Hurok and Columbia that were doing the heavy lifting -- making the connections, booking the theaters, doing the advance promotion. Now, when a company like ABT does tour, I don't know that they have the same relationship with a promoter. I'd have to do some homework, but my intuition is that there is much more direct contact between the company and the local institution. Especially when it's an ongoing relationship, like the Segerstrom in California. Now rather than a long tour with multiple appearances that requires a certain ongoing coordination, it's more like a series of run-outs -- fly here and go home, fly there and go home.
  10. Tangential comment -- your observation here, about coming across something by accident, really pinged something for me -- as more and more library use is mediated by online search engines, the serendipity of finding one thing when you had gone looking for something else seems to be waning. But You Tube does have the equivalent of "finding something further down the shelf" in those links over on the side of the screen...
  11. Eliot Feld

    Oh, I haven't seen this in years -- I didn't realize it was online!
  12. I agree the film is not a substitute for a live performance, but it is an artform on its own -- I'm pleased that it seems to be making some headway in cinema broadcast, especially as television dance programming gets slimmer and slimmer. The Dance Boom was a product of multiple influences. The post WWII cultural programming of the big international companies was certainly one element, but there were several others as well.
  13. Why So LIttle Massine?

    Thanks so much for the links -- as we've all discussed here, it's really difficult to get a handle on Massine's work with so little material available.
  14. Writings on Degas, Jean-Louis Forain, etc.

    Thanks -- bookmarking for later.
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