See full details and contact info after the jump… Read More…
Andrew Simonet gives you the Dance Insider walking tour of Lisa Kraus’ “The Partita Project,” newly staged within an old mansion in Philadelphia’s Fairmont Park.
If you ever wondered why dance is so important, this is a thorough, if lavish, explanation of how dance is the only genre today that consistently challenges how humans relate to the things.
Claudia La Rocco, in her New York Times review gives a thumbs-up to Wally Cardona‘s new piece at DTW. There’s not much in terms of analysis, but there is this little spurt of lyricism:
“…moments of strange poetry opened up, blossoming like the sheets of paper that had been crumpled into unwieldy wads.”
Unwieldy wads of crumpled paper…sounds like she’s been raiding a dorm room trash can.
Am I talking crazy, or doesn’t anybody care about gender relationships in dance? Well, other than Dancing With The Stars?
Yay for Galapagos Art Space getting a new home!… in DUMBO?
Galapagos certainly deserves a permanent home that isn’t under constant threat of unregulated rent increase. But what does it mean that it’s moving from the high-cost but scruffy imaged neighborhood of Williamsburg, to an even higher cost neighborhood that is increasingly being redefined by luxury?
Part of the success of Galapagos was surely the locals who frequented and liked its edgy style. But who will the locals be in DUMBO? Do people who live in luxury condos really want to drop down to the local bar and catch a chance performance by members of Circus Amok, or Murray Hill hosting a burlesque, or Tiger shoving a bottle up his whoo-whoo? I hope Galapagos’ programming won’t change to fit in with its new neighbors. Hopefully its present fans will be loyal and drag their asses through the super luxe streets of the Brave New World that is, was, and will always be…under a bridge.
‘Twas an all dance program last night at Dixon Place. Names and credits may not be accurate or fair since there was no program… Read More…
Angela Ashman rocks out with this article in The Village Voice about the Clive Davis Department of Recorded Music at NYU. The piece focuses on the realities–both grim and grandiose–the students face as their dreams and desires are filtered through an academic model, which traditionally implies a categorical, measurable success for students and their futures.
The real problem is that there should never be degree programs for artists. A degree means very little in terms of an artist’s actual talents or popular appeal. There has never been a an opera singer who got cast for his or her GPA. There has never been a work of art sold because the artists aced Western Civ. And there will never be a pop star who became a pop star because they graduated cum laude from Tisch. Read More…
“I played clarinet. I’ve got to say the clarinet is one of the most embarrassing instruments to play. There’s something about the way you hold it and have to pucker up your mouth, and how you end up with a puddle of spit between your legs. [Laughs] Not cool. I wish I had done oboe.”
Ooooh, okay, because I thought what was
gay “embarrassing” about playing the clarinet is that it was a long black piece of wood that you play by blowing through a reeded mouthpiece while holding it between your legs.
I’m still going to try to see his piece next week at DTW, even if he won’t be blowing anything.
Steve Smith at The Times comes up with this review of International Contemporary Ensemble‘s recent performance of Nono‘s “A Floresta é Jovem e Cheja de Vida” (“The Forest Is Young and Full of Life”). I missed this performance, sadly. But a while back I saw ICE do Peter Maxwell Davies “Eight Songs for a Mad King,” with Peter Tantsits, also at PS122. ICE basically plays all those pieces you had to study in 20th Century music class but never got to hear live. God bless ‘em…