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pherank

SFB 2019 Miscellaneous

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27 minutes ago, pherank said:

My kingdom for a bullet train! Sadly, not in this state/country.

Even in a relatively small region such as the Bay Area, there's lots of different cultures playing off against one another. Not necessarily interested in sharing anything. I remember that early in Tomasson's tenure he was promoting the idea of SFB going to Southern Cal to perform on a regular basis (sort of like NYCB going to Saratoga New York), but it never really happened. I can imagine there is intense 'political' pressure in So Cal not to allow companies from _________________ (fill in the blank) take up partial residence in LA where there are still dreams/fantasies that LA will be the dance powerhouse of North America. From the audience stand point its about seeing high-level performances, but for the movers and shakers behind the scenes, its mostly about power and control. The same sort of thing  goes on between SF and San Jose area big money arts supporters.

I didn't know about Tomasson ever advocating for a Saratoga/NYCB-esque situation for SFB in L.A. It's a shame something couldn't be figured out. Because as far as L.A. becoming a dance powerhouse of North America, oh boy! I hope no one is holding their breath! 

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1 hour ago, Syzygy said:

I didn't know about Tomasson ever advocating for a Saratoga/NYCB-esque situation for SFB in L.A. It's a shame something couldn't be figured out. Because as far as L.A. becoming a dance powerhouse of North America, oh boy! I hope no one is holding their breath! 

Once upon a time Hollywood was all about dance and musicals. Even Clark Gable and Jimmy Stewart were forced to sing and dance once or twice. As Balanchine observed, Americans didn't need ballet when they had Fred Astaire. But the days of old Hollywood and musicals is long over.

I'm sure Benjamin Millepied and his company would like to be the center of attention in LA, but interests are very, very scattered in Southern Cal.

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1 hour ago, pherank said:

Once upon a time Hollywood was all about dance and musicals. Even Clark Gable and Jimmy Stewart were forced to sing and dance once or twice. As Balanchine observed, Americans didn't need ballet when they had Fred Astaire. But the days of old Hollywood and musicals is long over.

Very true! But still, as you mentioned, it's been a while since dance, or more specifically ballet, has had a true hub in L.A. As an audience member down here I wish this wasn't the case.

1 hour ago, pherank said:

I'm sure Benjamin Millepied and his company would like to be the center of attention in LA, but interests are very, very scattered in Southern Cal.

Again, so true. I'm sure we all have our opinions about L.A. Dance Project, but either way, yes, the interests are scattered here. In fact, I remember reading a thread on this site on the difficulties of fostering a "real-deal" ballet company down in Southern California. It doesn't seem like a new thing, all of this is just to say I wish SFB came around more often!

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Thanks to Madison Keesler for mentioning this online:

DanceFAR (Dance For A Reason)

"DanceFAR’s 2019 performance will be held at the beautiful Herbst Theater in San Francisco, California on Saturday, September 7th, 2019 benefiting the @theirc (International Rescue Committee) and @gugulethuballetproject. This performance will include ten of the Bay Area’s most celebrated dance companies and will feature works from today’s top choreographers. DanceFAR 2019’s proceeds not only benefit the immediate needs of refugees, but also provides education and opportunities to empower impoverished youth through dance."

Tickets are available at CityBoxOffice.com

http://www.dancefar.org/

"DanceFAR was founded in 2012 by former San Francisco Ballet dancers Garen Scribner, James Sofranko and Margaret Karl to support the work of the Cancer Prevention Institute of California and has raised over half a million dollars for cancer research and prevention. Past DanceFAR performances have featured dancers from the San Francisco Ballet, Alonzo King LINES Ballet, Smuin Ballet, ODC/Dance, Robert Moses’ KIN, Margaret Jenkins Dance Company, Nederlands Dans Theater 1, Hubbard Street Dance Chicago, American Ballet Theater, and Broadway’s An American in Paris, among others.

After a short hiatus, DanceFAR will return to the Herbst Theater organized by San Francisco Ballet dancer Steven Morse. The performance will be held at the Herbst Theater on September 7th, 2019. Participating Bay Area dance companies will include San Francisco Ballet, Alonzo King LINES Ballet, Smuin Ballet, Amy Seiwert’s Imagery, AXIS Dance, Diablo Ballet, SF Danceworks, ODC/Dance, Menlowe Ballet and Post:Ballet."

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Just in:

Forest Tan Flaherty💚
Likes: mama’s milk, baths, burps, long walks
Dislikes: being too cold, being too hot, being hungry, and soggy diapers
Status: single and ready to mingle (after you’ve washed your hands😉)

https://www.instagram.com/p/B14IY01AK1W/

Congratulations to Frances Chung and her husband!

There's photographic evidence that Sarah Van Patten has had her 2nd child as well, so congratulations to the happy parents, and brother.

Edited by pherank

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A great observation by Jennifer Stahl, San Francisco Ballet principal,
from the Dance Magazine article When It All Goes Wrong: 5 Dancers Share their Worst Performance Ever

"On the opening night gala for my first year as a principal dancer, all of my insecurities flooded in. I got so nervous. I was performing Jerome Robbins' In the Night—the second pas de deux—and I put so much pressure on myself that I was in my head the entire performance. I completely self-sabotaged.
Instead of celebrating my first opening as a principal, I really cracked under my own pressure—I slipped, I was shaky, all these little things went wrong that had gone smoothly in rehearsal.
But it was kind of a great start to my season, in a way. It highlighted this horrible habit of mine: I realized I was not present. I thought, Wow, that was actually a very selfish performance, because I was so wrapped up in myself and what I was feeling that I took away from what I was giving the audience and what the role was meant to be.
I decided that going forward, I would approach my performances as an artist, completely immersed in the work, instead of as a dancer just thinking about how I'm presenting myself. I've had to play some mind games—staying as calm as possible, telling myself 'It's not about you. This isn't about your struggles or insecurities. This is for them.' "

https://www.dancemagazine.com/dance-performance-bloopers-2639822007.html

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Sasha De Sola posted the following 'survey' question to Instagram:

"Thinking about how technology and social media has inevitably changed the way we interact, and more specifically how we view and share our art form. What do you think? Has this helped or hindered ballet? Or perhaps somewhere in between? How can we be better about protecting the integrity of our art form while inspiring and building new audiences?"

https://www.instagram.com/p/B2UcNcIHNNs/

Feel free to reply if you have an Instagram account.

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