Alexandra

Doug, do you know the history of the last act? Not only structurally -- it's been cut, and trimmed, and put in other places, etc -- but the influence of these changes on the character of Nikiya. I may be wrong, but I read it as a sentimentalization of the story. Without the vengeance in the last act, Nikiya's just another nice peasant girl who likes to ghostwalk with her lover at night. With that last act, well, she's a different creature altogether. I've also read different versons of the libretti. Do the gods wreak vengeance, or Nikiya personally? That's a big difference.

Doug, I'd love to know, too, but I didn't see it. I'm posting to bump this up, hoping it will catch the eye of someone who did.

This isn't ballet, and it isn't NBOC, but I wanted to put this link here hoping it would catch the eye of some of our Toronto posters. This is an Indian contemporary dance concert -- and I think it might be interesting. http://www.balletalert.com/forum/showthrea...54975#post54975 If you go, please post!

Anita Ratman, a colleague of mine, sent me the following press release today. Anyone in Canada curious about Indian dance? I know Ratman only as a writer and have never seen her choreography (I find her writing clear and interesting). I hope someone will go and report. I'm very curious about this. Some of the most interesting dance I've seen in the last decade has been the product of cross-breeding of Asian classical dancing and folk traditions with American modern dance. The choreographers, at least the ones I've seen, and these include people from mainland Japan, Okinawa, Korea, and Indonesia, are deeply aware of their classical and folk traditions and treat them with immense respect -- the insider view -- and have a curiousity and appetite for modern dance -- the outsider's view, but a very aware one -- that makes for interesting performances. -------------------- I am delighted to inform you of my latest work that is to be premiered at Canada on September 27 and 28, 2002 at 8pm at Harbourfront Centre's Premiere Dance Theatre, Toronto, Canada. On invitation by Lata Pada, Sampradaya Dance Company, Toronto, Canada, I have been commissioned to do HYPHENATED, a group choreography for members of her dance company. I will also be presenting a solo premiere, "VAITHARANI: the crossing" the same evening. Details of both productions are enclosed for your information. Warm regards, ANITA R.RATNAM Artistic Director Arangham Dance Theatre www.arangham.com HYPHENATED An international choreography commission by Anita Ratnam Of the 12 million South Asians living outside their native homelands, the diaspora which engages with life in North America is particularly interesting. It is a demographic and sociological phenomenon at how smoothly these immigrants have been able to imagine their homelands and intersect with the great North American dream. Affluence, upward mobility, status, achievement have not come without their share of conflicts and identity struggles. HYPHENATED takes a peek through the psychological and emotional window of Canadian-born South Asians: the negotiations with their cultures and their vigorous daily engagement with traditional parents and contemporary ideas. Confidence is mixed with conflict, desires delicately laced with tiptoeing through the minefield of two worlds, one imagined and one real. Janus-faced and confident, the current generation plunges into their unique lives. Bollywood movies blend with temple sculptures, values blur and are redefined in a new time and space. Is the idea of South Asia a geographical border or a desire? Are they creating fictions, not actual cities but invisible ones, imaginary homeland? Are they South Asians of the mind? CREDITS Concept and Choreography: Anita Ratnam Dancers: Anila Maharaj, Subha Navaratnasingam , Uppekha Jain and Vidya Rao Musicians: Debashis Sinha and Ernie Tollar Costumes: Anita Ratnam Text: Writtten and vocalised by the dancers in collaboration with Anita Ratnam Acknowledgments: To all the dancers who invited me into their lives to grab a peek at their internal 'hyphens'... and to Lata who believed in me enough to hang on to this dream for the last four years. VAITHARANI.. the crossing A contemporary dance performance by ANITA RATNAM In a second, the faintest perfume may send us plummeting to the roots of our being, our whole life verticalized by a fleeting sensation: we have been connected by a mere smell to another place and another time. All our experiences are like that haunting scent. Time itself is cyclic, and by the spiral of its returning seasons we review the progress and growth of our own understanding. Ours is the spiral house we build to keep us from life's continuous outpouring, from an otherwise unchecked flow into the unknown. Going on means going far Going far means returning All ancient cultures speak of the journey of the soul after it has left the physical body. In ancient Hindu and Tibetan writings, death is a necessary rite of passage for the voyage of the soul. Through the myriad landscapes that the soul traverses, a hot and bloody river gushes in its path. This is VAITHARANI, the river of memories which is the daunting reminder of time, human life and all our actions we have made and experienced. At that river bank the soul can make a decision to return to its spiral path and assume another life-form for another chance at a life-experience. To cross the dangerous river is to forget everything, only to remember that cooling waters and healing streams are also waiting to claim your tired soul from another chance at life.. The mind weeps at what it has lost The soul laughs at what it has found CREDITS Concept, Choreography and Performance: ANITA RATNAM Directed by: DIPANKAR MUKHERJEE Soundscape arranged by: DEBASIS SINHA Jathis composed by: KSR ANIRUDHA Vocalisation: PRIYA MURLE and SASHIREKHA Costume: HEMA RAMANI and VV RAMANI Research Professor: VISHNU BHAT and V SADAGOPAN Acknowledgements:PRASANNA RAMASWAMY and SHAJI K. JOHN

Galas can be fun. I only saw a couple of Bolshoi Highlight programs, and I'd be happy to see more. Paul, that "Walpurgisnacht" is on video -- one of those "Magic of the Kirov" compendiums; RG will know which one -- with Maximova. I think of it as a happy Rite of Spring (and I think Robbins said he hads been influenced by it for "Four Seasons.") GWTW, I really can understand your disappointment. I agree with Katja that it's best to look at pre-performance publicity with a wary eye, but people won't know that until they've experienced one of these. I agree, too, that one has a totally different expectation when going to see "Great Stars of the Ballet" and a program organized around one or two particular dancers -- and presenters should realize that. It would avoid a lot of misunderstandings and disappointments.

Hmm. Agon in tutus. Now THERE'S a thought. (Just seeing if Leigh is awake. ) Tutus have become a whipping boy, though, so I appreciate ronny's enthusiasm. "THESE dancers don't wear tutus, of course," is something that one reads from the "going beyond ballet" set. I'd like to see new ballets in tutus -- more business for Juliet, too

Of course! There's REAL money in conducting

I've gotten a couple of emails from people who are curious about the Merce Cunningham London season. There was a world premiere. What was it like? What was the audience response? Did anyone go?

I agree -- I think it's the hardest thing in the world, especially with someone who has been seen by much of the film's potential audience. One could get away with doing a film of Fanny Elssler, or even Isadora, but most people won't be able to get passed the "she doesn't look like her" not to mention "she can't sing."

Verdy, Hightower and Gielgud didn't last very long, either Forgot to say that the Grand Dame of artistic directors, of course, is Ninette De Valois, who once said that the women were good at building things, because men didn't have the patience for that, but when a company was established, it was time for the women to step aside and the men to take over.

And female dancers, of course, are viewed as brilliant, shrewd and capable In the wider world, dance itself is suspect. But inside the world of ballet, I don't think it's feminist rabblerousing to point out the dearth of women in top jobs, or the fact that when the short list of "who will succeed" is discussed, women are not mentioned. Nor do they get the AD jobs.

I think that's very well put -- it's an attitude that will take a long time to change. Often within a company, there's a culture that's not written down, but that everyone knows. At the Royal Danish Ballet, I watched the end of year exam. Nearly every man in the company was there, principals, corps, young, old. One woman was there -- a woman trying to break into choreography who had had very little encouragement. I'm sure the women weren't told not to come, and I doubt that all of them were uninterested. They just knew their place, as it were. I think it is changing, and I think that the current crop of young women may feel more a sense of entitlement -- which, IMO, is just fine. But until then, there are going to be a lot of body blocks thrown in their path. And "well, she can't fundraise. She has no contacts in the financial world" is one of them. Unless, of course, she has one particular contact in the financial world -- i.e., a rich husband -- and then more stones are thrown.

Quite a few, actually. This question comes up nearly every time there is turnover at the top of a major company. Starting with Cynthia Gregory and Natalia Makarova at ABT a few years ago. As Watermill pointed out, there's a difference between being a choreographer and an artistic director -- and I'd add to that, that "chief fundraiser" is a very new addition to the job description of artistic director. That's what the executive director is supposed to be doing. I think we're in a transitional time on this, where executive directors are trying to dictate artistic policy in the name of marketing, and artistic directors, at least those whose gifts do not include the artistic, are eager to take on the gladhanding aspects of the job. (Not a universal situation, certainly, and ADs always had to be around at fundraising events to beam at the donors, but it's a trend that's making headway. Too much headway, IMO.

BOSTON BALLET ANNOUNCES EXCITING LECTURE SERIES DanceTalks lecture series provide an intimate setting to learn more about the art of dance (BOSTON)- Boston Ballet announces its series of DanceTalks, six special evenings at Boston Ballet's studios in Boston's Back Bay. DanceTalks take place at Boston Ballet, 19 Clarendon Street, Boston, and for the first time, two of the DanceTalks will be repeated in Boston Ballet's new, state-of-the-art MetroWest Studios in Newton. "DanceTalks series give the public the opportunity to get better acquainted with dance and Boston Ballet. This series is designed to educate, enlighten and entertain the audience, while learning more about Boston Ballet, its artists, and the art of dance," said Mikko Nissinen, Boston Ballet Artistic Director. Tuesday, October 1, 2002, 7 pm - Boston Thursday, October 3, 2002, 7 pm - Newton The Art of Partnering Laura Young, Boston Ballet's former prima ballerina, now Principal of the Boston Ballet Center for Dance Education's Newton campus, partners with Anthony Randazzo, former principal dancer of San Francisco Ballet and new Ballet Master at Boston Ballet, to explain partnering technique. They will share their experiences, including what to do when things go wrong mid-performance. They will also give the male and female perspective, and will be joined by students who will demonstrate the intricate moves under discussion. Thursday, November 7, 2002, 7 pm - Boston The Olympics of Ballet We know dancers are athletic, but can their art be competitive? Should it be? Boston Ballet dancers, fresh from this summer's USA International Ballet Competition in Jackson, Mississippi, will discuss the highlights-and lowlights-of the competitive experience. How did they prepare? What did they learn? Would they do it again? They will be joined by dancers who have competed less recently, and who will discuss how their careers were (or were not) affected by the experience. Monday, December 9, 2002, 7 pm - Boston The Big Picture Choosing, planning for, and producing a ballet season requires teamwork. Members of Boston Ballet's artistic, production, and wardrobe staffs describe the intricacies of how a new season is scheduled. The discussion will be led by Boston Ballet's new Executive Director, Valerie Wilder. Wednesday, January 29, 2003, 7 pm - Boston La Fille Mal Gardée La Fille Mal Gardée is one of the oldest surviving ballets-and one of the funniest. Christopher Carr and Grant Coyle, who are in Boston to set the ballet for our Company, and Boston Ballet principal dancer, Paul Thrussell, will discuss Frederick Ashton's production of this classic. The talk will be illustrated with excerpts danced by Company members. Tuesday, March 11, 2003, 7 pm - Boston Thursday, March 13, 2003, 7 pm - Newton All Balanchine George Balanchine's ballets combine graceful classical elements with contemporary wit and style. What was it like to dance for Mr. B.? What should we look for in the four ballets we will be seeing onstage? Join us as Artistic Director Mikko Nissinen and dancers who worked under Balanchine discuss the choreographic legacy of this unique genius. Thursday, April 24, 2003, 7 pm - Boston Romeo and Juliet A timeless story of endless love . . . What sets Rudi van Dantzig's interpretation of Romeo and Juliet apart from the others? Dantzig himself describes the choreographic process of creating his own version of the classic tale. His vision will come to life as Boston Ballet dancers demonstrate excerpts from this sumptuous roduction. # # # Each presentation lasts an hour and will be followed by an informal reception at which audience members, speakers, and artists gather to discuss the evening's topics, over refreshments. Individual tickets for each evening are $12.00, purchased at the studio beginning at 6 pm before each DanceTalk or in advance by mail. Student ticket price with a valid ID is $5. Purchase tickets to three or more DanceTalks at the subscriber's price of $9.00 per ticket. Time permitting, tickets will be mailed in advance. Programs are subject to change. DanceTalks are held in Boston at 19 Clarendon Street, and in Newton at 861 Washington Street. Tours of Boston Ballet's studios in Boston are offered to attendees beginning in the lobby at 6 pm. Please note that the studios are kept warm for the dancers, so dress accordingly. All programs begin promptly at 7 pm.

NEW AT DANCE BOOKS ================== SYLVIE GUILLEM'S EVIDENTIA ON DVD PETER WRIGHT'S FIRST ROYAL BALLET NUTCRACKER ON DVD DANCE AND THE PERFORMATIVE Valerie Preston-Dunlop & Ana Sanchez-Colberg This book articulates the dynamic with which a practitioner-based research has grown, is growing, and is applied, integrating the three concepts in its title: the interaction of spectator and performer in performative dance, discussed through a dance specific (or choreological) perspective which has developed out of and beyond the seminal research of Rudolf Laban. It includes essays by Frank Werner, Paula Salosaari, and Sarah Rubidge. PHYSICS AND THE ART OF DANCE Kenneth Laws Written by a physicist with professional dance training, Physics and the art of dance explains how dancers can achieve better, safer performances through an understanding of physics in motion. Using simple, non-technical terms, the author combines his knowledge of both physics and dance to describe how the laws of gravity, momentum, and energy affect dancing bodies. PASSIONS, BEAUTIFUL MUSIC FOR BALLET CLASS VOLUME 5 Nigel Gaynor 2003 BALLET AND DANCE CALENDARS NEW ISSUE OF 'DANCE NOW' - MACMAILLAN TRIBUTE ISSUE Full details of these and other new releases can be found at: http://www.dancebooks.co.uk/new.asp complete with on-line ordering facilities. Alternatively you may send orders by: email: orders@dancebooks.co.uk telephone: +44) (0) 1420 86138 fax: +44 (0) 1420 86142 post to Dance Books Ltd., The Old Bakery, 4 Lenten Street, Alton, Hampshire GU34 1HG, UK. (

I was agreeing with you, Ed I said, "it's the

Thanks for posting this. Someone who's seen more of Welch's choreography than I should comment.

Watermill, we had a thread on this in our very early days that you might want to read. Yes, I think this could be a separate topic -- feel free to post it!! http://www.balletalert.com/forum/showthrea...highlight=women

I think vagansmom is quite right. Women are very rarely on the short list. There are exceptions, of course, but in this country you'll find the smallest companies -- the ones with no money, the civic ballet companies -- run by women. As soon as money enters into the picture, they can only be run by men. My cynical female view of things

That's the quote that Ari pulled out for Links, and it's the one that struck me, too. WHO are these people, making ballets and assuming that their audience doesn't like ballet? There are other points in the article about the changes that "must" be made to make "Swan Lake" relevant to our times. All the wrong ones, IMO. What do you think?

But not all -- Nureyev in Paris, Kronstam in Denmark, and Sergeyev in St. Petersburg, at least, are exceptions.

WHAT an original idea. The 999th (give or take a few) new and improved Swan Lakes. Read about this one (I've copied this from Links) and see what you think. Australian Ballet's new production of Swan Lake, set to open later this week, will put a new spin on the old work.

Thank you for those comments on the Gothic, Mel and Ari. I do think there are parallels between the 19th century Gothic and ours -- and I'd forgotten, Ari, about the point you made, that the Romantic was a rebellion against technology. I'd also forgotten Wordsworth's "spontaneous overflow of emotion." That's the way we see the 19th century now -- all wars and rebellions, political and artistic. Then, though, there's the sense of a bottle uncorked. Now, it's spontaneous overflow of emotion 24/7.

Good question, BW -- and I think Paquita's answer is very clear; it is hard to quantify, and I agree there is no formula. As soon as there's a formula, it's copied to the point where it's senseless, and great artists develop their own "formulas." As for whether it's a matter of taste or something more than that, this is something that's always been clear to me -- I was taught it at home and at school -- that there's a difference between taste and judgment. I may like something that's utter trash, and recoil from something that's great, but I think there's a difference. Doug Fullington posted something -- just an offhand comment -- that I'd like emblazoned on our door: "personal preference being a different issue than appreciation" Yeah! I'm very interested to hear what people think makes for good choreography, but I wanted to explain one term, since BW questioned it. When I write "the choreography doesn't go anywhere" I mean it doesn't develop, in the same way one would expect a piece of music, or a literary composition to develop. I think this is the besetting sin of much new choreography -- modern dance or ballet -- that I've seen in the past too many years. I use this when there's no overall plan or design to the ballet. Just a movement here, and a movement there. A piece I saw a few weeks ago was a good example of this (by Trey McIntyre, who I think does have talent as a choreographer, from the little I've seen of his work). The ballet was set to a collection of songs, and each song was choreographed a completely discrete entity. There was a similarity in movement vocabulary -- I think McIntyre is a good craftsmen, and the movements were appropriate to the music -- jazzy, slinky movements rooted in social dance. The actual movement/content of each "song" was interesting, but there was no frame for it, no point to the whole piece. All of the dances were about "relationships," yet the dancers were not paired off. It was as if Joe and Mary go to a party, Joe meets Harry WOW!!! hearts atwitter. Mary comes back and looks displeased -- and, the next time we see her, she's with someone else and Joe is with another woman. Now, there could be a point to this -- Swingers Night Out, or Love Doesn't Matter, Let's Just Do It. But I don't think this particular piece -- and the trillions, it seems, that I've seen like it have a point -- except to make sure everybody has something to do. (A friend of mine commented "it's so they don't have to have a leading couple" and that may be part of it too.) What is YOUR definition of good choreography?

Speculation on who will be the next director is always fun -- and, I think, fair game. There should be people here who can guess Candidate Number 1. If you don't want to post it, email me and I'll put it up as "from a reliable source."