California

Stuttgart Ballet is streaming their production of Sleeping Beauty today. I don't know how long it will be on-line. Filmed in 2019. For the truly obsessed (like me): in the Wedding PdD, they do the one-armed fish dive, which I much prefer to the two-armed version I see from the Russian companies. Prinzessin Aurora: Elisa Badenes Prinz Desiré: Friedemann Vogel

Another Treat from Ballet Arizona: Act II of Napoli this Sunday, July 19 Ballet Arizona questions@balletaz.org via auth.ccsend.com Ballet Arizona | 2835 E. Washington St., Phoenix, AZ 85034

https://aesthetics-online.org/news/516891/deFrantz-Wins-2020-Selma-Jeanne-Cohen-Prize-in-Dance-Aesthetics.htm The American Society for Aesthetics is pleased to announce the winner of the 2020 Selma Jeanne Cohen Prize in Dance Aesthetics: Thomas F. deFrantz, "What Is Black Dance? What Can It Do?" in Thinking Through Theatre and Performance, edited by Maaike Bleeker, Adrian Kear, Joe Kelleher, Heike Roms (Methuen Drama, 2019). Dr. deFrantz is a member of the faculty of Duke University as Professor of African and African American Studies, Professor of Dance, and a member of the Core Graduate Faculty in Computational Media, Arts & Cultures. He received his PhD from New York University in 1997. For more information on his many accomplishments: https://danceprogram.duke.edu/faculty-profile/thomas-f-defrantz The review committee of three senior ASA members specializing in dance said this about the winning essay, selected from sixteen nominations: This is a timely critical interrogation of the category of Black Dance, exploring the historical formation, social significance and aesthetic features of relevant practices. DeFrantz offers a nuanced, original and accessible treatment of complex issues, grounded in deep knowledge of, and reflection upon, dance practice. His essay provides a touchstone for future scholarship on Black Dance. The prize was established in 2008 in memory of Selma Jeanne Cohen, and with enormous gratitude for her generous bequest to the ASA. The $1000 prize is awarded every year, for critical articles or books of distinction in dance aesthetics, dance theory, or the history of dance published in English. In 2020, the Prize is being awarded for an outstanding article published from May 1, 2018 - April 30, 2020. In 2021, the Prize will be awarded for an outstanding book published from May 1, 2019 - April 30, 2021. For more information about the prize: https://aesthetics-online.org/page/CohenPrize Previous winners of the Prize: *Halifu Osumare (2019): Dancing in Blackness: A Memoir (University Press of Florida, 2018). *Anna Pakes (2018): "Reenactment, Dance Identity, and Historical Fictions," in The Oxford Handbook of Dance and Reenactment, edited by Mark Franko (Oxford, 2017) *Anthea Kraut (2017): Choreographing Copyright: Race, Gender, and Intellectual Property Rights in American Dance (Oxford, 2016) *Chantal Frankenbach (2016): "Dancing the Redemption of French Literature: Rivière, Mallarmé, and Le Sacre du Printemps," Dance Chronicle 38:2 (2015), 134-160 *Ann Cooper Albright (2014): Engaging Bodies: The Politics and Poetics of Corporeality (Wesleyan University Press, 2013) *Graham McFee (2012): The Philosophical Aesthetics of Dance: Identity, Performance and Understanding (Dance Books, 2011) *Marcia B. Siegel (2010): Mirrors & Scrims: the Life and Afterlife of Ballet (Wesleyan University Press, 2010) *Ann Hutchinson Guest (2008): Lifetime Achievement Award *Ivor Guest (2008): Lifetime Achievement Award *Sally Banes (2008): Lifetime Achievement Award For more information about the ASA: http://aesthetics-online.org

Another Washington Post article, this one a brutal assessment of the situation of the performing arts by Sarah Kaufman. https://www.washingtonpost.com/entertainment/theater_dance/the-washington-ballet-thought-a-virtual-fundraiser-was-safe-but-it-still-may-have-put-artists-at-risk/2020/07/13/a70bf050-c2da-11ea-b4f6-cb39cd8940fb_story.html

NEH just announced CARES grants to cultural organizations. Of special interest: Alvin Ailey Dance Foundation, Inc. Outright: $72,490 [NEH CARES: Cultural Organizations] Project Director: Masazumi Chaya Project Title: Alvin Ailey Choreographic Legacy Project Project Description: The retention of three staff positions at the Alvin Ailey Foundation to plan for and begin the process of cataloging and digitizing archival and production materials for the works of American choreographer Alvin Ailey. The complete list: https://www.neh.gov/sites/default/files/inline-files/NEH CARES grants June 2020_0.pdf

The YouTube is still on-line. It starts at the 32 min point. The introductions in studio -- spaced but no masks -- starts about 41. Despite all their precautions and despite not knowing how all these people caught the virus, I'm guessing their experience will put a damper on whatever ideas other companies might have along these lines.

Thank you! I must say: I think this is a very good use of my tax money!

I agree completely. I can't imagine a public figure making a public accusation of where they think they caught the virus. But this kind of thing is rampant on social media: "I took every precaution, then went to a barbeque/birthday party/rally/whatever and caught it." The general public has a very limited understanding of the difference between causation and correlation. Think of the legal quagmire if/when people try suing a business/restaurant/performance for supposedly exposing them to COVID? How would you ever prove where you got it? How would the establishment defend themselves? I watched that virtual gala live and remember wondering: did they figure out how to test everybody right beforehand and get immediate results? Probably not! If professional sports teams are having problems figuring this out, with all their resources, I'm increasingly pessimistic about live theater performances for the foreseeable future. And I suspect other companies that were thinking of trying the same thing as Washington Ballet will be much more hesitant of taking the risk. EDITED TO ADD: Story from the Washington Post, just posted. Note that at least three ballet company "employees" also got sick after the gala: https://www.washingtonpost.com/entertainment/theater_dance/washington-ballet-director-julie-kent-says-she-is-recovering-from-covid-19/2020/07/11/c007c96e-c391-11ea-9fdd-b7ac6b051dc8_story.html

Julie Kent just announced on Instagram that she tested positive for Covid-19 two weeks ago. She doesn't say how she got it, if she knows. Specifically, she does not accuse the socialite hostess who was at their studios the night of their virtual gala, reported in the Washington Post as positive. Here's the Post story on the gala June 18: https://www.washingtonpost.com/lifestyle/the-virus-didnt-stop-a-washington-socialite-from-throwing-a-backyard-soiree-then-the-tests-came-back-positive/2020/07/01/841041ba-ba19-11ea-bdaf-a129f921026f_story.html

I confess that I never heard of this company. Their Wikipedia entry also reports denial of public funding: https://en.wikipedia.org/wiki/International_Ballet I wonder if the book includes any explanation. There might or might not be good reasons for the denial. Regardless, I'm curious if we know what they were told at the time for the denial.

I just looked at the Bel air site. A lot is missing. My point is simply that there are valuable performances out there that many of us would pay $$ to stream and perhaps own and the ballet world hasn't quite figured out how to do this well and maximize revenues. As we've noted repeatedly over the years, the European and Russian companies have done a great job filming performances and then selling on DVD. More recently, many of those are licensed to Amazon Prime, for more revenue. But we could still see some improvement. I always worry about the bootlegged stuff I see on YouTube and elsewhere -- does it harbor a virus that wasn't caught by the hosting site. I'm never entirely confident. We're seeing some experimentation triggered by the pandemic and hope we'll see more. The Louisville Ballet is going to do an all-digital season if you subscribe. I wonder how that will work out. Some ballet academies (like Washington Ballet) are still giving away some classes for free but selling access to others. All experiments, of course, to see what works.

The ballet world needs to step up its thinking on how to bring in more revenue. Disney figured out that by offering Hamilton, they'd likely bring in a lot of new subscribers who wouldn't otherwise bother. I've looked at Marquee TV, but they don't seem to have anything special I haven't already seen, on PBS or DVD. If they added the Ratmansky Giselle and perhaps also his reconstructed Swan Lake for La Scala/Zurich, now I might be very interested! If Bolshoi or La Scala doesn't want to sell these things alone, join forces with somebody like Marquee with the ballet company making some revenue from the rights. ABT could sell their Sleeping Beauty that way. Ballet companies are giving away so much great stuff for free right now, but there are still some valuable properties out there with potential.

The Vail Festival has announced a Digital Festival that coincides with the original dates for 2020. They'll show highlights from the past ten years. A welcome treat, as I missed most of them: AN EXCITING ANNOUNCEMENT We are thrilled to bring you the Vail Dance Festival: Digital Edition July 31-August 7, 2020! This special online series of events will feature unique performances from the past 10 years including debuts and revivals that have only been seen in Vail, a world premiere choreographed by Bobbi Jene Smith made in, and for, the virtual space, plus a range of educational programming including Passing Balanchine On with Heather Watts and Damian Woetzel, and Conversations On Dance with Rebecca King Ferraro and Michael Sean Breeden. The Digital season is generously underwritten by Jody and John Arnhold. The Festival will be available for a limited time on our Facebook and YouTube channels. See the schedule below! OPENING NIGHT Friday, July 31, 6pm MST The Vail Dance Festival: Digital Edition begins with a specially curated selection of performances from the past 10 years including debuts, revivals, and new works that have rarely if ever been seen outside of Vail. Hosted by Artistic Director Damian Woetzel, with appearances by a range of the extraordinary dancers and musicians who have made Vail a summer laboratory for creative collaboration.  | LEARN MORE |  VIRTUAL GALA Sunday, August 2, 6pm MST The Virtual Gala evening will feature stars of the Vail Dance Festival from the worlds of ballet, tap, modern, and street dance. Among the highlights of this dynamic program will be The Personal Element, a 2019 Vail world premiere from revered choreographer Alonzo King, with an original score composed and performed by jazz luminary Jason Moran, danced by artists from Alonzo King LINES Ballet and New York City Ballet. | LEARN MORE |  PASSING BALANCHINE ON Monday, August 3, 6pm MST Heather Watts and Damian Woetzel on mentoring, coaching, and curating George Balanchine's works at the Vail Dance Festival, with Tiler Peck, Herman Cornejo, and Calvin Royal III, and featuring archival films of Balanchine repertory on Vail stages.   | LEARN MORE |  NOW: PREMIERES Tuesday, August 4, 6pm MST New works and collaborations made in Vail by a selection of today's most adventurous voices in dance, featuring a world premiere choreographed by Bobbi Jene Smith with dancers Melissa Toogood, Calvin Royal III, and Smith herself joining in this dance made in and for the virtual space. This evening also features Rise Wait Climb Through, a 2018 world premiere choreographed by Justin Peck, with a commissioned score by Caroline Shaw.  | LEARN MORE |  CONVERSATIONS ON DANCE WITH REBECCA KING FERRARO & MICHAEL SEAN BREEDEN Wednesday, August 5, 6pm MST Join Rebecca King Ferraro and Michael Sean Breeden from the popular podcast series Conversations On Dance, as they host in-depth discussions from afar with Festival artists including Lil Buck, Calvin Royal III, and "the Cindies" Isabella Boylston and James Whiteside. | LEARN MORE |  CLOSING NIGHT Friday, August 7, 6pm MST Closing night of the Vail Dance Festival: Digital Edition brings to the screen the extraordinary 2017 world premiere, we seem to be more than one, choreographed by Michelle Dorrance in collaboration with Dario Natarelli and her extraordinary cast. This piece captures the unique collaborative spirit of the Festival, bringing together dancers from tap, ballet, contemporary, jookin', flamenco, and modern traditions. Hosted by Damian Woetzel, the evening will open with the 2019 world premiere piece d’occasion Carolina Shout with jazz pianist Jason Moran and dancers Michelle Dorrance and Lil Buck. | LEARN MORE |  - OPENING NIGHT SCREENING IN VAIL - Join us at the Gerald R. Ford Amphitheater on July 31st at 6:00pm to watch Opening Night of Vail Dance Festival: Digital Edition! This event is free, but due to limited capacity and seating, you must reserve a ticket. LEARN MORE - FOLLOW US ON SOCIAL - First: Roman Mejia performs Alexei Ratmansky’s Fandango. Photo by: Christopher Duggan. Dancers from Alonzo King's LINES Ballet and New York City Ballet perform Alonzo King's The Personal Element. Photo by Christopher Duggan. Heather Watts coaching Tiler Peck and Herman Cornejo in Apollo. Choreography by George Balanchine © The George Balanchine Trust. Photo by Erin Baiano. Rise Wait Climb Through. Choreography by Justin Peck. Photo by Erin Baiano. Conversations On Dance with Rebecca King Ferraro and Michael Sean Breeden and guest James Whiteside. Photo by Brian Maloney. we seem to be more than one. Choreographed by Michelle Dorrance. Photo by Erin Baiano. Gerald R. Ford Amphitheater. Photo by Jon Resnick. Our mailing address is: Vail Valley Foundation 90 Benchmark Road Suite 300 Avon, Colorado 81620

I'm surprised by some unexpected retirements (and expect more). I have to wonder if many dancers are taking stock of the realities of their world. Will they be able to rehearse and perform again anytime soon? Will their companies be able to afford to keep them on? I wonder if some are starting to think: maybe this would be a good time to finish that college degree or have that baby or seriously consider other career options. They could stay in reasonable shape during a career detour and keep options open for the coming years. And this surely isn't the only profession that is not likely to ever return to "normal" (whatever that was). Higher education is being gutted in many ways, too. People are starting to wonder if the traditional residential college experience is really worth the money (and the debt) when they can do so much on-line at a much lower cost. Faculty jobs are disappearing ever more rapidly.

Enjoyed this very much. I fear this is the closest we'll get to the theater until 2021, if then. If dancers are alone or in pairs on an empty stage, where presumably they have effective pre-performance COVID testing for everybody, there can be some lovely moments. I've never seen Salenko in Swan Lake so the White Swan PdD even under these circumstances was wonderful to see. A single musician on an instrument that does not involve blowing works for everyone's safety and is quite satisfactory. I would even be satisfied with recorded music if that's necessary. Still, how sad to see all those empty seats in that theater and in a country that is light years ahead of the US on dealing with this pandemic. If ABT doesn't have a library chock full of great things to stream, I hope they are at least considering this alternative presentation (if they can find a theater they can use!).

The company roster was just announced for the new year: https://www.coloradoballet.org/company/dancers Principals: Chandra Kuykendall retired, as previously announced. Soloists: retired: Tracy Jones retired, as she just announced on her Instagram. new: Jennifer Grace, Jonnathan Ramirez Demi-Soloists: Departed: Emily Speed Corps de ballet: Departed: Arianna Ciccarelli, Regan Kucera, Fernanda Oliveira, Tyler Rhodes Promoted from Apprentice: Liam Hogan, Ariel McCarty New: Jessica Payne Apprentices: Promoted from Studio Company: Catherine Aoki, Sheridan Guerin, Ever Larson, Catherine McGregor, Jacob Ray Departed: Tate Lee

The sad truth is we need an effective national policy and surely won't get one in 2020. I once thought a trip to Miami next year would be worth considering to see the Ratmansky reconstruction of the Petipa Swan Lake. I'd love to see Ib Anderson's company in Phoenix, especially their Balanchine rep. I've never seen the Houston Ballet but had them on my "to-do" list depending on rep they announced. Now, I can't imagine visiting any of those states next year as I watch the irresponsible behavior of their politicians and citizens. I'm sure their local business and cultural leaders are painfully aware of the impact this is having on their tourist trade. Colorado has done a good job trying to get a grip on this pandemic and our governor has been terrific in leading the way. But we keep suffering from invasions of tourists from neighboring (red) states that are quite irresponsible. Last February tourists apparently brought COVID to Aspen and Vail, so we had some of the earliest outbreaks. Now they're bringing it to their summer homes in the Rocky mountains. I hope we are back to "normal" in 2021 (whatever that is), but I'm not optimistic. And I wonder how long these companies can sustain themselves financially -- and sustain us with video streaming.

The "socialite" co-chair of the Washington Ballet's virtual gala hosted a private dinner at her home afterwards -- and later found out she is COVID-positive. The story says no one from the Ballet company attended. She was present, however, at the studios when they did live broadcasting. https://www.washingtonpost.com/lifestyle/the-virus-didnt-stop-a-washington-socialite-from-throwing-a-backyard-soiree-then-the-tests-came-back-positive/2020/07/01/841041ba-ba19-11ea-bdaf-a129f921026f_story.html?utm_campaign=wp_post_most&utm_medium=email&utm_source=newsletter&wpisrc=nl_most

Tracy Jones, Soloist with the Colorado Ballet, announced her retirement today on Instagram. This came as a real surprise. She was spectacular last season as Mercedes in Don Quixote -- such charisma and flare. I have no idea what she plans to do next, but she has been teaching at the Colorado Ballet Academy. https://www.coloradoballet.org/company-dancers/tracy-jones

English National Ballet is streaming La Sylphide July 1 for four days:

Thanks for the heads-up! This is a real treat, especially the Tudor and Ashton. There's also a piece by Robbins (Septet) that I had never heard of.

Pennsylvania Ballet has cancelled their Nutcracker and Coppelia and postponed Cinderella to the spring: https://www.inquirer.com/arts/nutcracker-canceled-cancelled-pa-ballet-philadelphia-pennsylvania-20200624.html http://paballet.org/2020-2021-season-update/ AS SCHEDULED: Swan Lake: Feb 25- March 7, 2021, Academy of Music George Balanchine’s Stars & Stripes: March 11-14 2021, Academy of Music RESCHEDULED: Cinderella: May 13-16, 2021, Academy of Music CANCELLED: Coppelia: May 13-16 George Balanchine’s The Nutcracker®: December 11 – 31, 2020 Suspended In Time: January 31 – February 7, 2021

Audiences push them to do ever-more difficult "stunts" with our applause and cheers, so I guess I'm not surprised to see this.

Glad I've already watched it twice! It will be worth watching when they bring it back!

Here is the direct YouTube: https://www.youtube.com/watch?v=PF3Lw_189BU&feature=em-lsp I am seeing it this morning.