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About sandik

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  • Connection to/interest in ballet** (Please describe. Examples: fan, teacher, dancer, writer, avid balletgoer)
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  1. There are about a million books on my shelves that I heard about through her invaluable "Attitudes and Arabesques." Back before the internet made it so much easier to spread the news about a new publication, she did the hard work of gathering all that information, and then painstakingly transcribing it for us all. I got to know her a little bit, and spent some time looking through her personal collection, while she still lived in California -- it was like a sleepover at the Dance Collection.
  2. Excellent news -- I've been so curious about this production, and am glad to have a chance at the film version.
  3. The article is primarily about the costumes, but I think it's pretty clear from looking at the second act set that the Trust doesn't want anyone straying too far from their original designs. I've seen a couple other works designed by Falconer that were much more innovative than this, which is primarily a loving homage to the Ter Arutunian set.
  4. Harris has been working with breakdancing styles in concert dance for many years -- he's made some astonishing things. Go see, and let us know what you think. Yes, but not a part of the Fall for Dance festival...
  5. As I said elsewhere, the Voice was the mothership of the alternative weeklies, and created the model for that kind of smart, local coverage.
  6. That sounds like something she would love to do -- I took dance history with her at the same time as I was working on notation, and she would often set our reading assignments in notation class based on whomever we were discussing in history.
  7. Thanks for the heads-up, and that's an amazing price...
  8. There's a link in the NYT obituary to a Facebook posting of a clip from Episodes (I think it must be public facing, since I was able to look at it, but apologies if it is not). A fascinating piece of choreography, and a very sad coincidence, to lose Taylor and Frame in the same week.
  9. You've put your finger on the core issue here.
  10. Oooh, hadn't seen this! Thanks for the heads-up!
  11. Thanks for the clarification -- I didn't recognize his byline and so made an assumption.
  12. Fascinating -- I'll have to think about some other examples, but one thing that does come to mind is when the Eugene Ballet used to tour in the Northwest under a different name (at one point they were Ballet Idaho in Boise, though that's an independent company now) -- I don't know enough about their administrative structure to know if they did separate fundraising. I'd also wondered about companies like the Joffrey, who used to spend a significant part of their year on tour -- I know at one point there were local organizations that would fundraise for the company's local appearances ("Friends of" groups), or presenters that primarily show touring groups who raise money for those endeavors. But none of this is primarily across political boundaries. I have a feeling that there was less concern about this before state and local arts agencies sprang up in the 1960s and 70s with the mandate to serve a geographic area.
  13. I think you're likely right, but it just points out the difference between insider and outside for me -- those who have been following the company for years don't really think twice about the title, while those who are coming to this transition relatively uninformed would look at that and wonder "what in the world does that mean?"
  14. The comment that raised my eyebrows was this one: "And the job title is changing, too: Mr. Martins was the company’s ballet master in chief, a grand, perhaps grandiose title; the new leader will be an artistic director." I've never thought of "ballet master" as grandiose -- indeed, it always felt like the modest choice (or at least modest like Diaghilev's comment that he "arranged the lighting") But as someone pointed out above, this was written by a business reporter, not a dance writer, and so reflects an outsider perspective. Which will be interesting to follow as this process goes forward -- the company will get a great deal of attention from people who don't really have much of a history with it.
  15. I'd be grateful if that were the issue, but I think it's likely not. As companies become more and more dependent on their boards of directors, who are, for all their virtues, usually not dance professionals, we'll see more and more of the standard business language coming into the structure of company life. Many different business have "directors" -- it's a familiar term. Mastery of an art form, or of any skill, is a virtue that implies a deep dive into a subject, and perhaps even a sense of apprenticeship or devotion. This is not necessarily a popular choice right now, when we are asked to exhibit skills in multiple areas on a regular basis. (Remembering Julia Child's Mastering the Art of French Cooking!) We are shifting in multiple directions right now when it comes to vocabulary -- on the one hand people are generating "gender-free" designators all the time (Latinx rather than Latino or Latina), but we are also extracting the gender from others (dude or actor for men and women). I think we chatted about this on Facebook, but it's my understanding that Balanchine preferred "ballet master" in part because it kept him in the studio, and implied his ongoing relationship to the dancers in class as well as rehearsal. A fast look at a PNB program -- we've got an artistic director, but we also have three ballet masters, one of whom is a woman. (interesting detail -- when the company was first formed, Janet Reed came on as a leader, but was not named "artistic director." She was a ballet mistress. Next in line was Melissa Hayden for a brief and volatile time -- she was an artistic director.
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