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Whip Turn Wednesday, courtesy of Frances Chung and Joan Boada(!) at Sun Valley: https://www.instagram.com/p/CR4rWUSAjrJ/

Some after-performance photos: https://www.instagram.com/p/CR2c9PXMnUl/ Shots of Jahna Frantziskonis (still dancing!): https://www.instagram.com/p/CR2MIuYAOtz/ And more pics coming from Thamires Chuvas: https://www.instagram.com/p/CR1fN_hAp93/ After show message from SVP: https://www.instagram.com/p/CR7SJtZsJSM/

Look who else is pregnant: https://www.instagram.com/p/CR0NBQoAUqm/ Congratulations to Lauren and Joe.

Swan Lake: Cancelled - University of North Carolina School of the Arts (UNCSA) Dance, with the help of Garen Scribner and choreographer Danielle Rowe, created a humorous short film: https://www.youtube.com/watch?v=GKbci8nv_Xk

Here are some fun photos and descriptions from Tahoe Dance Camp participants... Frances Chung "...Perhaps you don’t see all the logistics that had to be figured out, the tears shed by babies and adults alike, and the frustration and worry still of the unknown, however, one cannot deny these are the experiences that shape and form us as humans. When I step on stage tomorrow I hope for it to be an expression of all things learned in life and dance in the last two years. I hope time stands still. To all the dancers I get to share the stage with: we have nothing to lose and everything to gain https://www.instagram.com/p/CRr7Jm2AWxH/ Joseph Walsh "A year and some change ago, something extremely special happened in the midst of a time that felt like nothing good could happen. Sarah Van Patten called a zoom with some buds after one of the numerous @sfballet zooms in which we struggled to find some way to dance again. With almost no hope, I joined the call just to keep busy. Little did I know what would come from that first brainstorm. Sarah invited myself and 14 or so others to stay at her place in Tahoe (I shared a bunk bed room with @babatunji @lukeingham @garenscribner and @vallady … it was epic). We all tested and yada yada yada… you know how these protocols go, and were able to live together for weeks and just create. We created with absolutely no pressure, among friends (and lots of babies). I learned so much from this experience, not just as an artist, but as a collaborator, dance maker, artistic coordinator, editor, wardrobe assistant, and most of all baby sitter." https://www.instagram.com/p/CRp10P7gJMu/

Yuan Yuan Tan has been joint choreographer and artistic director for "Magical Night at the Art Museum" - staged at Shanghai Oriental Art Center. https://www.shine.cn/feature/entertainment/2107242502/

"65 years ago, SF Ballet had its first East Coast performances at @JacobsPillow, a pivotal moment for the then still-developing company. Watch video excerpts of those 1956 performances in Jacob's Pillow's brilliant Dance Interactive" https://www.instagram.com/p/CRt7hJnjQQb/ SFB in Apollo (with Conrad Ludlow, Nancy Johnson, Christiane Bering and Sally Bailey) at Jacob's Pillow: https://danceinteractive.jacobspillow.org/san-francisco-ballet/apollon-musagete-apollo/?utm_campaign=later-linkinbio-sfballet&utm_content=later-19075884&utm_medium=social&utm_source=linkin.bio

From Toni Bentley's "Karinska and Balanchine" which I found online: Patricia Zipprodt: "I used to spend a great deal of time with Gjon Mili who was doing a big color story for Life and he dragged me to the ballet. It was La Valse and in comes Tanaquil Le Clercq in this white dress. Bang. I went down to [the Fashion Institute of Technology] and beat on their doors and got a scholarship and went to school... The white satin and tulle gown Zipprodt saw was, interestingly, not really white but rather a luscious cream color. Karinska knew that a true white has an empty, flat appearance onstage... Layering of colors, often very disparate ones, was one of Karinska's specialties, and it was never more apparent or used to better dramatic advantage than in the other women's costumes in La Valse. Attached to heavy, silver-gray halter-cut bodices with low-slung backs, the long skirts were composed of up to six layers of color - red, orange, purple, and pink — all topped by a single layer of translucent gray."

Tiit Helimets has posted a series of videos to Instagram featuring his daughter Chloe doing barre and center work. She's currently taking the ABT Summer Intensive with Cynthia Harvey (remotely). [Since the videos involve a child, I'll let people find the postings on their own, rather than linking directly.]

Thanks, Quiggin. Everyone loves the look of the "Three Fates" costumes, which do seem to be derived from the earlier Cotillion look. Karinska's "Fate" tulle skirts were actually made from a number of different transparent colors layered over one another, with I think charcoal grey on top (not a true black). And the bodice may actually be a charcoal grey as well. The debutante's costume is less spectacular in coloration, I suppose. I just wondered if the look had remained the same - at least at NYCB - or if what we see now is actually a bit different from the original.

Fjord Review's 2nd part came today in the e-mail. A webpage is now posted here: https://fjordreview.com/digital-transformation-of-dance/ Digital Transformation of Dance In this second part of our report on dance during the pandemic, we focus on companies' response. We asked: what strategies did companies employ to create safe performance environments for dancers and the public? And how successful were in-person events, when they occurred? If you missed part one of our report, you can catch up here. Part One: Social Dis-Dancing REPORT BY SOPHIE BRESS Of the companies that did choose to offer socially-distant in-person events, four companies opted for outdoor performances, and three utilized indoor venues. A variety of approaches were used to ensure the safety of dancers and audience members alike. In addition to social distancing and masks worn by all participants, companies also employed strategies such as: staggering seating times shortening performances to eliminate the need for an intermission reduced audience capacity performances of only pas de deux and solos (limiting pas de deux to cohabiting couples) and the utilization of a health screening for dancers and staff Approaches to Pricing In order to determine pricing for socially-distant performances, dance organizations used a variety of strategies. Several companies included these performances as free bonuses with previously purchased virtual season tickets. Others determined prices based on previous rates prior to the pandemic. Although, according to survey responses, these performances accrued nominal revenue, all companies had positive audience responses following the events. Post-Pandemic Performances Outdoor dance festivals and performances certainly existed prior to COVID-19, but they might become less of a novelty in post-pandemic seasons. While it’s not viable for all companies to perform outside year-round (due to location, weather, and venue availability), organizations might place more focus on non-traditional venues moving forward. Not only does this approach allow for flexibility as the pandemic continues to evolve, it also has potential to expand viewership and cut down on rental costs associated with indoor venues.

The classical look can be beautiful, but it all depends on how this port de bras is being used. Tyler Peck is working at a blinding speed (as usual) which is going to require some adjustments just to get from one articulated position to another without looking like a bird flapping its wings. But relatively few dancers can match Peck's simultaneous speed and articulation. Is Hallberg working on a particular ballet's aesthetic? Or is he trying to develop a new overall approach for the company?

I have a question about the "debutante" costume from Balanchine's La Valse (costume originally by Karinska). Has the NYCB costume always had the ecru-colored bodice with, I guess, some black or dark brown piping along the top edge? And is the headscarf always black? POB used that same coloration recently, but MCB seems to be using a white-colored bodice with faintly colored skirt (not exactly a white). The original photos of Le Clercq in her costume were all in black and white so I can't really tell anything about the colors used. NYCB POB MCB

I'm not sure if this was mentioned before, but Sofiane Sylve is now titled the Artistic Director of Ballet San Antonio (she was Artistic Advisor for Ballet San Antonio, and designer of the school's curriculum): https://balletsanantonio.org/dancers/sofiane-sylve/ BSA has performances planned for this Fall: A Night at the Castle OCTOBER 22-24TH Swan Lake Choreography by Julius Reisinger Adapted and Staged by Sofiane Sylve, Mary Jo Crews and Rafael Ferreras The Sleeping Beauty Choreography by Marius Petipa Adapted and Staged by Sofiane Sylve, Mary Jo Crews and Rafael Ferreras A Night at the Castle is an evening especially curated as an introduction to the great classics, with exciting and virtuosic moments interpreted by the most beloved fairy tales characters. The Rose Adagio from The Sleeping Beauty and the infamous Black Swan pas de deux from Swan Lake are only a few of the iconic pieces presented! Come celebrate Aurora’s wedding with us and join your favorite fairies and cavaliers for the most whimsical party of the realm. It’s an evening not to be missed! https://balletsanantonio.org/performances-2/

Dance Gala: Roberto Bolle and Friends at Charles Krug Winery, Napa - July 23rd, 2022 "Ballet superstar Roberto Bolle brings his celebrated production Roberto Bolle and Friends, to Napa for the annual Dance Gala, an event that invariably ranks among the year’s highlights. A principal dancer at American Ballet Theatre from 2009-2019, a principal dancer étoile at La Scala Theatre Ballet, and a guest artist with other top international companies, Bolle is one of Italy’s most beloved artists. Joined by internationally renowned dancers Osiel Gouneo, Angelo Greco, Melissa Hamilton, Misa Kuranaga and Skylar Brandt, they perform solos and ensemble numbers from both treasured classic and modern ballets." https://festivalnapavalley.org/2021-summer-season/dance-gala-roberto-bolle-and-friends/

I have to remember that one. 😉

LOL. Now you're getting into the era of 60s and 70s "fresh faces".

Alastair Macaulay posted these photos of Edward Gorey's imagined ballet programs - rather humorous: [advance to the 2nd slide to see the listing for Titus Andronicus, a full-length ballet in 5 acts] https://www.instagram.com/p/CRcF4B-gb_J/ https://www.instagram.com/p/CRcGHMfgGCI/

Sad, but true. I have to say though, many of these "problems" have to do with changes, and or conflicts, in society as a whole. Some of the criticism of the companies has made it sound like the ballet world is the last bastion of White European Patriarchal Conservatism, or some such thing. But the diversification issues, and the love of hierarchy/status and tradition (not to mention cult-of-personality) is to be found all over the place. And these things get us in trouble. Whether we're talking about governments, sports, the military, or the supposedly "cutting edge" tech industry, there's a lot of non-diverse, male-centered, family-unfriendly things going on in the human world. That's what we have to work with.

Yes, indeed. Someone is going to get the role one way or another. It doesn't make much sense to complain about others working to get roles though - it's a necessary evil for all soloists. Seeming disinterest is not compelling to an A.D. ;)

Rachel Howard has written an article for the SF Chronicle's Datebook titled, Tahoe Dance Camp, At First A Pandemic-inspired Workshop, Ready For Adventurous Debut Performance '...Onstage, then, Tahoe Dance Camp’s performance promises a view of the leading edge in contemporary ballet. But behind the scenes, the working atmosphere it created may also offer a vision of a more cooperative, woman-centered and family-embracing ballet culture. Twelve adults and five children under the age of 5 ended up sheltering together during the two “dance camps,” with Rowe’s daughter Gigi, just 6 months old, strapped to her for much of the day as Rowe choreographed. “We’d hold our morning class, and every so often a kid would run across the studio or call for mom,” recalled Chung, a principal who joined San Francisco Ballet 20 years ago and gave birth to her first child six months before the pandemic. “We’re professionals, though, so we could switch back and forth.”'

Cool lifts for Ballet Sun Valley: https://www.instagram.com/p/CREjI9ZD2Si/ https://www.instagram.com/p/CRU0BHzHSbI/

Agreed, and I don't think being a Principal Dancer alone is enough of a qualification. (And the principal needs to be someone who has been created on often enough that they understand what's involved in working with choreographers.) The candidate needs some level of "management" experience, and I will include the jobs of choreographer and teacher in that category since they both involve guidance and motivation of other artists. Thinking about it again, I remembered that I preferred the new NYCB model: a shared leadership between 2 or 3 persons. Someone gets ultimate final say, but the others are deeply involved in repertoire choices and creation.

That sounds like you know who some of the actual candidates are. I imagine the list of interested candidates is pretty long. I've been thinking about qualified (in my opinion of course) indigenous people of color. And only two come to mind, off the top of my head: Alonzo King and Dwight Rhoden. Both of whom have management and choreographic and teaching experience. I was hoping for a female A.D. and made no secret about Sofiane Sylve being my top choice, but I don't see that happening now. A lot changes in 2 years time. I just can't think of any qualified female candidates, of color, who are connected to SFB in any way, and have a relationship to SFB artists and staff. Am I forgetting anyone?

WanTing Zhao and Luke Ingham rehearsing a Swan Lake PDD for the upcoming Tahoe Dance Camp performance: https://www.instagram.com/p/CRSjdlkAvdd/