Buddy

Absolute artistic musts. Florence The Michelangelo's, especially the David, at the Academia. The Birth of Venus by Sandro Botticelli at the Uffizi. This time of year you can get into both these museums much faster if you reserve in advance. You hotel receptionist should be able to easily do this and I don't think that it costs extra. The David, for a man, and the Birth of Venus, for a woman, could be the most beautiful representations in the world. Rome The Sistine Chapel especially it's ceiling by Michelangelo. Michelangelo's Pieta in Saint Peter's Basilica along with the entire architectural complex. View Michelangelo's statues like a sort of dance. Walk around them very slowly in both directions. They can change in feeling and meaning with each new step. Venice The magnificent residences along the Grand Canal. I spent one entire afternoon just riding the boat up and down the Canal looking at them. Have a great trip !

This all looks very interesting, but I haven’t had a chance to get into it yet. I’ve been searching through Mariinsky Festival reviews in russian (using Google translations) of this year’s Sylvia and can’t find the exact article, but will continue searching if necessary. From a Mariinsky dancer’s, Viktoria Tereshkina’s, point of view, Frederick Ashton’s choreography is the hardest that she’s ever had to do. One reason is that she had to enter her jumps after only one step (I believe that this is exactly what she said, having the hotel receptionist in St. Petersburg translate it). Added: “NY Times critic Alastair Macaulay has likened Ashton’s choreographic skills to those of composer Haydn: “Ashton choreographs the way that Haydn composed: he takes a motif, adds to it, plays with it, changes its dynamics, sets it against something dissimilar, turns it inside out, extends it, transforms it. “One of Asthon’s most recognised and admired qualities was his use of classical vocabulary in dance making. Rather than resorting to a severe transformation of ballet steps (as Balanchine did) Ashton created works that were purely classical but felt modern at the same time.”

This is perhaps another case for a form of ballet related dance that wouldn’t require the physicality that ballet and other dance requires, but instead would focus on artistry. This video was posted in 2010, a year before Delphine Moussin had to retire from the Paris Opera Ballet because of its mandatory retirement age of 42. Her beautiful and continuing artistic development could possibly keep her dancing wonderfully for another ten years if another dance form existed for her.

cgc, sometimes creativity eludes definitions. Also 'love,' that you recalled from bart's description, can really go outside intellectual consideration. I think that your discussion of Alexei Ratmansky does factor in the emotional, perhaps also the indefinable, as well as the intellectual, and is a good thing. Added: I also join you in thanking sandik for his attempt to clarify the historical picture which is probably what you most wanted. His use of the word “crossover” seems very meaningful and then we get into the degrees of this. Sandik’s concluding statement seems to have a lot of truth and interest. “Rather than continuing developments in a neoclassical vein, which may borrow movement qualities from other sources, but is essentially descended from classical ballet, contemporary dance places the fundamental elements of modern dance and ballet in equivalent positions.” A figure that continues to interest me from my personal bias is Ruth St. Denis, considered one of the founders of "modern" dance. My knowledge of her is mostly based on one video cassette of her works performed by more recent dancers and I’m not sure how representative it is. Again we get back to “crossover” and degree of “crossover.” Sandik has stated his feelings at our other discussion, “Although she [Ruth St. Denis] had some training in ballet, any actual resemblance was more coincidental than intentional.” Aside from her extremely religious beliefs, which aren’t my focus, she did seem to be trying to combine the best of ballet’s sensitivity and sense of restraint with the naturalness and freedom of expression that I associate with “modern” or “contemporary.” [typo corrections made]

I tend to agree with your statement, bart. Without drifting too far away from trying to simply define “contemporary ballet” — Where should ballet, or dance in general, go? We are loosely exploring this at the Modern and Other Dance topic. I wouldn’t mind seeing at least a parallel, alternative movement towards reducing some of the extreme physicality in ballet and other dance, if for health reasons only, and introducing more emphasis on the artistry or poetry. Does anyone see this happening anywhere in “contemporary ballet” and could it be added to the definition?

Ratmansky version really worth seeing if Alina Somova is in it ! Probably others can do it brilliantly as well. Alexander Sergeyev is a great Prince.

Kathleen, thank you very much for your latest post of dance from Thailand. I hope to enjoy this as thoroughly as possible. My first real interest in ‘beautiful’ dance was kindled about thirty years ago when I saw an excellent travel documentary about Burma. I would think that there are a lot of similarities. One segment showed a woman dancing in ‘classical’ style, which was as beautiful as I’ve ever seen. I’ve not viewed anything quite like it since. Her hands were so lovely. Her fingers weren’t quite as flexed backward as I’ve noticed in other Far East dancers. I would guess that they were also beautifully expressive and meaningful, which I like so much, and they were so wonderfully sculptured. Sometime, would you care to give ‘Western’ dance a try ? Added: I find this comment about Ruth St. Denis, from the Amazon book description that sandik previously referred to, as being rather intriguing. Aside from her being very religious, which is perhaps another matter, there is a lot of other interest here. “Ruth St. Denis (1878^-1968), called Miss Ruth by her students and admirers, is credited with creating modern dance in America, and, without question, inspired generations of dancers, including Martha Graham. A woman far ahead of her time, she challenged Victorian mores with her worship of beauty and the eloquence of the body and by dancing freely in revealing costumes to celebrate the sensual as well as the spiritual. Miss Ruth also wrote essays and poetry expressing, as editor Miller explains, her "philosophy of sacred dance, her belief in the role of women in peace-making, her innate love of the earth, and her ever-present connection to the divine.”” Also sandik’s description of her is quite interesting. She is possibly someone to note in any discussion that we might have about ‘Western’ dance. "St Denis was one of the foundational generation of American modern dance, but her work generally used dance material from other cultures (both actual and speculative) to create works that were often described as "exotic." Some of her choreography was more abstract (less narrative or figurative), especially the work she did in music visualization, but her most influential choreography was primarily narrative and character-based, creating a simulacrum of ethnic dances. In a way, her work created the same kind of fascination with "the other" in the US that Diaghilev's ensemble had in Europe. Although she had some training in ballet, any actual resemblance was more coincidental than intentional. (She and her husband Ted Shawn choreographed the dance sequences in Cecil deMille's Intolerance, and performed in the big temple scene) Suzanne Shelton's biography "Divine Dancer" is a very readable work."

I am.

You probably missed my "Added:" but doesn't Peter Boal do this sort of demonstration ? Thanks, Imspear. Added: And perhaps simple enough for a person with minimal ballet vocabulary, like myself, to understand.

Thanks, sandik. What I might like is something that shows the difference between what went before and what George Balanchine changed it to or some sort of comparison of before and after. Added: I believe that Peter Boal gives these sort of demonstrations from time to time, which is right in your neighborhood.

Internet video clips, internet descriptions in writing or a book, in that order. I'd like them to be as specific as possible and probably more about technical changes rather than philosophical ones. Thanks !

In all honesty, I’d never heard Kristina Kretova’s name before, so I went to the videos, The Bluebird duet and the duet from Coppelia. I’m Smitten ! — Based on these — She’s An Absolute Gem ! I’m hoping to see some of the NYC Swan Lakes, so I immediately checked to see what she’s doing, considering the possibility of extending my visit if she were to do a Don Quixote. She isn’t, but I’ll hopefully be able to at least see her as one of the Prince’s Friends in Swan Lake. I think that staying until her Saratoga Don Quixote wouldn’t be feasible, but I’d love to ! [typo corrections made]

Any good overviews on the changes that George Balanchine made ?

Could you please elaborate ? Added: If you're talking about tears of happiness, me too !

“ Where Should Dance Go ? “ and Where is it already ? Possibilities ? Desirabilities ? Quite a few. Let’s revisit some old friends for a moment. Worlds Unite. "Somehow we have slipped through time" (Whitey) (Anna Pavlova and Whitey) Dance is Fun ! (Dance with Matt) Added: Matt 2008 video above -- 47,398,934 views ! (Added Added: Highly recommend clicking on 2012 also. May as well throw in 2006 and hold your breath at 3:07)

It looks like you might have started one right here with Quiggin's response. I haven’t had a chance to follow this topic, but hope to. Dirac posted this link yesterday entitled “Judith Mackrell gives a warm welcome to the influx of modern dance choreographers in ballet,” which might be interesting. I read it a few days ago but don’t recall all its specifics. http://www.theguardian.com/stage/2014/may/19/natalia-osipova-ivan-vasiliev-ballet-contemporary-dance

cgc, I can try to very briefly respond to this topic, which you have quite correctly described as “a very rich and complex one.” I would define Russian ‘Soul’ as Spontaneous, but deeply felt love. It’s something that I feel greatly in Russia and would almost call a cultural characteristic. For me, it doesn’t necessarily show on the day to day surface, but you still feel that it’s there. When it does surface it’s heart grabbing. Ballet is to a large extent Refined, artistically developed expression. It’s something that I would more associate with France, or Paris in particular. In fact Russian ‘classical’ ballet was largely developed in the Tzar’s court (which at times spoke primarily french), by a frenchman. St. Petersburg architecture is largely influenced by Italy and France. This renaissance oriented expression was intended to represent an ideal way of being. So I tend to see Russian ‘classical’ ballet, Swan Lake in particular. as an *Idealization* of Russian ‘Soul.’

One of the things that I like very much about Fred Astaire is that his feet seem to be ‘street virtuoso’ while his shoulders, arms, etc. are almost ‘high art,’ ballet, etc. George Balanchine apparently appreciated this, having worked in similar waters from a ballet orientation, and supposed considered Fred Astaire to be his favorite male dancer. It's this combination of 'natural' and 'ethereal' that I keep coming back to and like so much.

Can’t resist this one. B-Boys, JabbaWokeeZ, Stand Back !

Then you’ve been a lot more fortunate than me, sandik. I only used this video as an example of nature’s beautiful ‘dance’. I tried for the Northern Lights once in Scotland. We do have a small waterfall here. Waterfalls have great personality and are great dancers. My favorites, though, are probably waves. When there is a ballet performance in Costa Mesa, I drive in and try to get to the beach before, at sunset. Front row seats for this amazing ‘dance’ are always available.

I love that film! I’ve watched the first half hour and am really enjoying it. I think that when I was their age I would have broken in half just thinking about what they can do. Whenever I’m walking around in a city it’s these guys and the street musicians that are almost guaranteed to make me feel good. Thanks also, sandik, for your stylistic comparisons, such as those between Gil Isoart, Fred Astaire and Michael Jackson. I still haven’t looked up “upbeat” and “downbeat” but I’m getting there. “ HA! I'll raise you with Japanese dance done to Dave Brubeck's . “ — Kathleen. “ Where Should Dance Go ? “ Do You Believe In Magic In A Young Girl’s Heart How The Music Can Free Her Whenever It Starts (lyrics by John Sebastian) I’m hopefully off to the countryside this afternoon to see a different kind of dance.

Please delete because of double posting.

Now you're talking! It's way past my bedtime in Europe, so I'll try to catch up with everyone tomorrow. Domo Arigato. -- "Take Five"

Okay, the dance challenge is on ! While waiting for Kathleen to hopefully point us in her Celestial direction, I’ll bring these guys back. It’s as good as I’ve seen them. Thanks for the Michael Jackson material, sandik. I’ve never seen this before and I’m really impressed. By the way the Billie Jean dancing starts at 9:15. It's The JabbaWockeeZ ! JabbaWockeeZ

I remember the Mariinsky appearing in Costa Mesa in 2008. I'm pretty sure that it was Don Quixote. Until then I'd considered Viktoria Tereshkina's finest quality as being a technician, most notable for being right on each note of the music. She started out the same and then the Dryad scene arrived with Alina Somova brilliantly flying across the stage as she did at the time. Then it looked like Viktoria Tereshkina was thinking, "Okay, watch this!" and she ripped into high 'virtuosa' gear and it's been no stopping since along with her other many lovely qualities. In addition, sitting still with her legs together slightly folded, she is one the most beautiful sculptural entities on the Mariinsky stage, i.e. in the world. If anyone has seen a picture of the statue of Hans Christian Anderson's Little Mermaid on a rock in the harbor of Copenhagen, this is exactly what I mean. I can remember one evening of very intense dancing with Viktoria Tereshkina simply sitting at the top of a staircase through most of it. It's an image that I'll never forget. https://www.google.ch/search?q=little+mermaid+copenhagen&client=safari&rls=en&tbm=isch&tbo=u&source=univ&sa=X&ei=awWLU73qDMar7Ab48YDoBg&ved=0CCkQsAQ&biw=1113&bih=698#facrc=_&imgdii=_&imgrc=a8-fASFmfpuqMM%253A%3B7Iffb2LIaIg4qM%3Bhttp%253A%252F%252Fimages2.fanpop.com%252Fimages%252Fphotos%252F2700000%252FThe-Little-Mermaid-Copenhagen-the-little-mermaid-andersen-2763876-1656-1242.jpg%3Bhttp%253A%252F%252Fwww.fanpop.com%252Fclubs%252Fthe-little-mermaid-andersen%252Fimages%252F2763876%252Ftitle%252Flittle-mermaid-copenhagen-photo%3B1656%3B1242