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4 episodes with Dutch National Ballet
5 episodes with Dutch National Ballet
4 episodes with Dutch National Ballet
2 episodes with Dutch National Ballet
3 episodes with Dutch National Ballet
2 episodes with Dutch National Ballet
2 episodes with Dutch National Ballet
2 episodes with Dutch National Ballet
2 episodes with Dutch National Ballet
Former dancer and senior teaching artist for The National Ballet of Canada, Annemarie Cabri, joined The Adult Ballet Studio this month! Follow Annemarie on Instagram: https://www.instagram.com/annemariecabri.dance/Learn more about Cabri Dance: https://www.cabridance.com/Subscribe to Annemarie's Silver Swans newsletter: https://www.cabridance.com/past-newslettersRegister for the Silver Swans Summer Session for 2025: https://docs.google.com/forms/d/e/1FAIpQLSeBzu3ZgagxeqR4JoDcdxCjlx2QZqQLVfgebpNdEUt_uRDWtA/viewform?pli=1Additional thoughts from Annemarie, lightly edited for brevity:I had a moment of ‘esprit d'escalier.' This is a new-to-me French expression that means the things you think about after the fact. Elizabeth asked me what it is about ‘every day movement' that inspires me to create dance? Prior to this question, there was some talk about how we are meant to move and dance, and my fascination with our eight fundamental movement patterns babies sequence through in their first year of life. But what I realize now is that not only do these patterns set us up to be ready learners, and able to function at our highest potential, they also allow us to develop a lot of the attributes found in studying ballet.As a dancer, I've been told that I observe and move through the world always from a dancer's viewpoint. I am not a dancer only when on stage or in the studio. And here lies the connection perhaps to a life philosophy: to move gently in the world and give more than take. This is important to me that ballet is more than the steps or costume or story. Ballet movement, philosophy, and the music that coordinates with ballet includes deep emotions and physical expression. The feeling of ourselves in space and ability to imagine many different ways to move can be deadened as we age. How to simulate the exhilaration we feel and have known in a class when the participants can no longer run?The last question posed by Elizabeth was how do I envision ballet in the future? I would like teachers to bring joy to the students, knowledge of the roots of each step, why they were created, and how we can bring quality of movement to feel and see the artistry that ballet was developed for. People were interested in, and understood, how feeling, seeing, and surrounding oneself in beauty, and things of beauty improved oneself. From inside and out, you could have your world stretched.As for ballet on stage, it's a big question. Ballet directors are coming together to ask these very serious questions from all around the world. The Dutch National Ballet started the conference ‘Positioning Ballet' in 2017, and this month for the first time, the conference will be held at Canada's National Ballet Company. How do we preserve the historic ballets with their gendered roles and story lines in today's experience? How do we retain the physical history from the original choreographers as we get further and further away from anyone alive today to pass this knowledge on? I would like to see a variety of ballets on stage from the preserved ballet technique and style that was created in the older ballets to new works that take the ballet technique to a new plane. I would like to see the dancers on stage represent our world today. How this is done, I'm not quite sure, but I am hopeful there are creatives who will know how and have the desire to do so.Music in this episode:Waltz of the Flowers - TchaikovskyBarroom Ballet - Silent Film Light - Kevin MacLeodBarroom Ballet - Silent Film Light by Kevin MacLeod is licensed under a Creative Commons Attribution 4.0 license. https://creativecommons.org/licenses/by/4.0/Source: http://incompetech.com/music/royalty-free/index.html?isrc=USUAN1100310Artist: http://incompetech.com/@eblosfield | theadultballetstudio@gmail.com
In today's episode, Dinah Hampson discusses: The importance of providing performers with the tools and resources to have sustainable career Challenging the narrative that dancers must suffer and have short careers Her online platform, Pivot Dancer, which offers resources and classes to help performers take care of their bodies and prevent injuries The need for empowerment and mental performance skills for dancers Abuse and unsafe practices in dance and the importance of creating a supportive community Injury prevention, the importance of sleep, and the need to normalize strength training in dance Dinah Hampson is a Physiotherapist who is passionate about enjoying life and using her knowledge to promote high performance in others. Dinah holds many certifications including the Sport Physio Diploma and International Sports Physiotherapist qualification, the Diploma of Manual & Manipulative Therapy and Pelvic Health Physiotherapy. Dinah is the Founder of Pivot Sport Medicine, a multidisciplinary clinic in Toronto, Canada and Pivot Dancer, a virtual dance injury prevention platform with worldwide membership. Dinah has been on the Canadian medical team for over 15 multisport games, including the Olympics, Youth Olympics, Paralympic, Pan American, World University and Commonwealth Games. Dinah trained in classical ballet, and brings a technical eye to her treatment of dancers and artistic athletes. Dinah works regularly with professional dancers from companies such as the National Ballet of Canada, Joffrey Ballet, Dutch National Ballet, Canadian Contemporary Dance Theatre, Singapore Ballet and, Cirque du Solei. Dinah is active in dance science research and is a regular conference presenter. RECEIVE 15% OFF OF ALL THINGS PIVOT DANCER USING THE CODE: THESTORYPROJECT Follow along on Dinah's journey: @dinahhampson @pivotdancer Transcript available on our website! --- Support this podcast: https://podcasters.spotify.com/pod/show/storyproject/support
Writer, comic, theatrical impresario, TV host and weekend chainsaw wielder Sandi Toksvig joins Clare McDonnell to talk about Friends of Dorothy, her first adult novel in 12 years. When Stevie and Amber move into their new home, they are surprised to find that the old woman they bought it from, a cantankerous and outrageous 79-year-old called Dorothy, is still living there.Today marks two years since the death of 22-year-old Mahsa Amini in Iran. She'd been arrested by the country's morality police for allegedly not wearing her hijab properly and died in police custody. Her death sparked nationwide protests and the birth of the Women, Life, Freedom movement. BBC Verify journalist Reha Kansara talks to Clare about her new reporting on the women who continue to speak out and the horrific consequences they are still suffering.The Breast Cancer Now Generations Study was set up in 2004 to help understand the causes of breast cancer. This 40-year landmark study – which this month reaches its halfway point – is following over 110,000 women to understand why breast cancer develops. Woman's Hour has been following the project from the start, checking in every decade. Clare is joined by co-leader of the study Professor Amy Berrington and participant Amanda Jones.The trailblazing ballerina, Michaela Mabinty DePrince, has died at the age of 29. A war orphan from Sierra Leone, she was brought to the US by her adopted family and made her way to the Dance Theatre of Harlem, the Dutch National Ballet, and even performed alongside Beyoncé. We hear an archive interview with Michaela when she spoke to Woman's Hour about her life and career in 2015.Carrie Hope Fletcher is an author, singer, West End star – and now a new mum. She's about to start a brand new tour around the UK, called Love Letters, which will feature musical theatre favourites and love letters from the audience. She joins Clare to talk about the tour, what it's like being a musical theatre mum, and why she's chosen not to put photos of her child online.Presenter: Clare McDonnell Producer: Maryam Maruf Editor: Olivia Bolton Studio Manager: Duncan Hannant
In this first part of an occasional series exploring modular synthesis and live performance. William Stokes talks to experimental electronic musician Scanner about his career, the choice of his favourite modules he'll showcase in his closing performance and the friendliness of the modular community. Chapters00:00 - Introduction01:13 - The Tate Modern Installation02:52 - Working With Laurie Anderson06:40 - The Origin Of The Name Scanner10:47 - Module 1: Morphagene14:30 - Module 2: Mimeophon18:52 - Module 3: Equation Composer24:08 - Module 4: QU-Bit Prism26:51 - Finding Your Sound With Modular29:22 - Module 5: QU-Bit Nano Rand31:16 - Module 6: Instruō øchd DivKid 33:12 - Modular Social Community 35:31 - Modular Aesthetics38:38 - Module 7: Bela Gliss42:37 - The PerformanceMorphagene - https://www.makenoisemusic.com/modules/morphagene/Mimeophon - https://www.makenoisemusic.com/modules/mimeophon/Equation Composer (discontinued) QU-Bit Prism - https://www.qubitelectronix.com/shop/p/prismQU-Bit Nano Rand - https://www.qubitelectronix.com/shop/p/nano-rand Instruō øchd - https://www.instruomodular.com/product/ochd/Bela Gliss - https://uk.shop.bela.io/products/glissRobin Rimbaud BiogScanner (British artist Robin Rimbaud) traverses the experimental terrain between sound and space connecting a bewilderingly diverse array of genres. Since 1991 he has been intensely active in sonic art, producing concerts, installations and recordings, the albums Mass Observation (1994), Delivery (1997), and The Garden is Full of Metal (1998) hailed by critics as innovative and inspirational works of contemporary electronic music. To date he has scored 65 dance productions, including the hit musical comedy Kirikou & Karaba Narnia, Qualia for the London Royal Ballet, and the world's first Virtual Reality ballet, Nightfall, for Dutch National Ballet.More unusual projects have included designing sound for the Philips Wake-Up Light (2009), the re-opening of the Stedelijk Museum, Amsterdam in 2012 and the new Cisco telephone system used in many offices around the world. His work Salles des Departs is permanently installed in a working morgue in Paris whilst Vex, the residential house by Chance de Silva architects, featuring his permanent soundtrack, won the RIBA London Award 2018.Committed to working with cutting edge practitioners he collaborated with Bryan Ferry, Wayne MacGregor, Mike Kelley, Torres, Michael Nyman, Steve McQueen, Laurie Anderson and Hussein Chalayan, amongst many others.http://www.scannerdot.comWilliam Stokes BiogWilliam Stokes is a producer, writer and artist in three-piece avant-psych band Voka Gentle. As well as being a critic and columnist for Sound On Sound, conceiving the popular Talkback column and heading up the Modular column, he has also written on music and music technology for The Guardian, MOJO, The Financial Times, Electronic Sound and more. As an artist in Voka Gentle he has made records with producers from Gareth Jones (Depeche Mode, Grizzly Bear, Nick Cave) to Sam Petts-Davies (Radiohead, The Smile, Roger Waters), has had songs featured on franchises from FIFA Football to The Sims and has toured across the UK, Europe and the USA, playing festivals from Pitchfork Avant-Garde in Paris to SXSW in Austin, Texas. He has collaborated with artists including the Flaming Lips' Wayne Coyne, Morcheeba, Panda Bear and Sonic Boom. Alongside being a guitarist and pianist, he is a synthesis enthusiast with a particular interest in sampling and explorative sound manipulation. As a producer and engineer, he has made albums with acclaimed avant-garde musicians from composer Tullis Rennie to Mute Records artist Louis Carnell. “I'm always seeking out the most ‘out-there', experimental, risk-taking musicians I can find to work with,” he says, “to capture vibrant, detailed recordings and create three-dimensional mixes of music that might otherwise struggle to know where to begin in the studio environment.” Stokes currently lectures in Music Production at City, University of London.https://www.vokagentle.com/Catch more shows on our other podcast channels: https://www.soundonsound.com/sos-podcasts
It's just us this week and we catch up on Michael's staging of Alexei Ratmansky's 'The Fairy's Kiss' at Dutch National Ballet. PLUS - JUST ANNOUNCED! Tickets for Conversations on Dance at the 2024 Vail Dance Festival are on sale now! https://vaildance.org/conversations-on-dance/LINKS:Website: conversationsondancepod.comInstagram: @conversationsondanceMerch: https://bit.ly/cod-merchYouTube: https://bit.ly/youtube-CODJoin our email list: https://bit.ly/mail-COD Hosted on Acast. See acast.com/privacy for more information.
Michael is currently at the Dutch National Ballet setting Alexei Ratmansky's 'Fairy's Kiss.' This inspired us to go back into our vault and find this 2017 episode with dance historian, Doug Fullington, on the history of the ballet, also known as 'Baiser de la fée.' Ratmansky's 'Fairy's Kiss' was originally made on Miami City Ballet while we were in the company, and during the time this was recorded. We hope you enjoy! WATCH -> Doug's presentation at Works and Process at the Guggenheim in Feb 2017: https://www.youtube.com/watch?v=R-aX7sYMKQA&t=4sLINKS:Website: conversationsondancepod.comInstagram: @conversationsondanceMerch: https://bit.ly/cod-merchYouTube: https://bit.ly/youtube-CODJoin our email list: https://bit.ly/mail-COD Hosted on Acast. See acast.com/privacy for more information.
“Dance Talk” ® with Joanne special guest, Jordan-Elizabeth Long In this episode of “Dance Talk” ® with Joanne Carey, join host Joanne Carey as she chats with Special Guest, Jordan-Elizabeth Long, Principal Soloist with Miami City Ballet. Jordan is a returning guest to Dance Talk and brings with her lots of milestones, accomplishments and life changes since we last spoke. Tune in as we catch up and chat about her continued journey in dance and the important role classical music played in her childhood which brought her to a career in dance. Jordan also emphasizes the importance of early exposure to the arts and the impact of supportive teachers and parents. She also candidly discusses her experience with scoliosis. Jordan shares how she is managing scoliosis as a dancer and the importance of spinal health as well as her gratitude for her teacher who never let her give up. She also recounts her journey through the COVID-19 pandemic (when I first chatted with her) pursuing higher education while dancing, and the resilience of the performing arts industry. Jordan reflects on her recent promotion to principal soloist and the recent emotional reunion with her former colleagues in Sweden. She offers words of advice for dancers going through difficult times and emphasizes the fulfillment that comes from pursuing a career in dance. Jordan-Elizabeth Long was born in Blacksburg, Va. She began her ballet training with Carol Crawford Smith and continued with Terri Post at the Southwest Virginia Ballet. In high school, she trained in South Florida with Magaly Suarez. Upon completion of high school, she was invited to join the Dutch National Ballet as a demi-soloist. In 2010 she joined the Royal Swedish Ballet, where she was promoted to soloist. During her time in Europe, her repertoire included leading roles in The Nutcracker, Swan Lake, Giselle, and The Sleeping Beauty. Long has been awarded the Gold Medal at the World Ballet Competition USA, been a finalist at the Shanghai International Ballet Competition, and was awarded the Louis Gallodier Prize at the Royal Swedish Ballet. She has appeared in galas and festivals in the USA, Dominican Republic, Russia, Romania, and Hong Kong. In 2014, Long joined Miami City Ballet as a Soloist then promoted to Principal Soloist in 2023 Follow on Instagram @jordan.elizabeth.long @miamicityballet Follow Joanne Carey on Instagram @westfieldschoolofdance And follow “Dance Talk” ® with Joanne Carey wherever you listen to your podcasts. Tune in. Follow. Like us. And Share. Please leave us review about our podcast! “Dance Talk” ® with Joanne Carey "Where the Dance World Connects, the Conversations Inspire, and Where We Are Keeping Them Real."
Le Festival Danse en l'Île revient pour sa 4ème édition et se tiendra du 21 au 23 mars au Bâtiment des Forces Motrices à Genève. Cet événement met en lumière de jeunes talents de la danse à l'aube de leur carrière professionnelle. Plus de 80 jeunes artistes issus de compagnies internationales renommées, telles que le Dutch National Ballet, Junior Company, la Rambert School et autres offriront des performances uniques et variées lors de deux soirées. Anastasia Piguet la co-organisatrice du festival nous en parle.
Why Dance Matters celebrates its 50th episode in conversation with one of the world's great ballerinas. Olga Smirnova's Giselle with Dutch National Ballet will be broadcast to international cinemas on 21 January. She joined the company after making headlines in 2022 with a courageous, life-changing decision to leave Moscow's Bolshoi Ballet in response to Russia's invasion of Ukraine. In a wide-ranging and thoughtful conversation, she discusses stage fright (she never feels it), the challenges of being a ballerina in the age of smartphones, her momentous decision to leave Russia and her profound sense of why dance matters.As a young girl, Olga Smirnova had no dream of becoming a ballerina. However, she did go to dance classes, and was then accepted into the famous Vaganova Ballet Academy in St Petersburg. On completing her training in 2011, she joined the Bolshoi Ballet, starting immediately as a soloist and shining not only in the classics, but also in new and modern works. In 2016, she was promoted to prima ballerina, but when Russia invaded Ukraine in 2022, Olga – strongly opposed to the invasion – decided to leave her homeland, making the transition to Dutch National Ballet.Find out more about the work of the RADFollow the RAD on social media and join the conversation with host David Jays:Instagram @royalacademyofdanceFacebook @RoyalAcademyofDanceTwitter @RADheadquartersYouTube / royalacademydanceDavid Jays @mrdavidjaysSign up to our mailing list to keep in touch!RAD is an independent educational charity and does not receive regular government funding. Every penny we make goes back into the work we do. You can support us by either naming a seat as part of our Name A Seat Campaign or making a donation.Hosted on Acast. See acast.com/privacy for more information. Hosted on Acast. See acast.com/privacy for more information.
Aaron S Watkin seems like a man who knows what he likes: perfect material to direct a leading ballet company, and to judge a leading ballet competition. The new artistic director of English National Ballet was recently a judge for the Royal Academy of Dance's Margot Fonteyn International Ballet Competition in London. Canadian-born Aaron danced with many international companies and led the Semperoper Ballett in Dresden for 17 years, and has just taken charge at English National Ballet. What are the sensitive choices he must make as a director – and as a Fonteyn judge? Born in British Columbia, Canada, Aaron graduated from the National Ballet School of Canada in 1988. He enjoyed a full career in dance including National Ballet of Canada, English National Ballet, Dutch National Ballet, William Forsythe's Ballett Frankfurt and the National Dance Company of Spain. Having been Associate Artistic Director in Madrid and a choreographic assistant to William Forsythe, he became Artistic Director of the Semperoper Ballett, Dresden in 2006. After a 17-year tenure he became Artistic Director of English National Ballet in 2023.Find out more about the work of the RADFollow the RAD on social media and join the conversation with host David Jays:Instagram @royalacademyofdanceFacebook @RoyalAcademyofDanceTwitter @RADheadquartersYouTube / royalacademydanceDavid Jays @mrdavidjaysSign up to our mailing list to keep in touch!RAD is an independent educational charity and does not receive regular government funding. Every penny we make goes back into the work we do. You can support us by either naming a seat as part of our Name A Seat Campaign or making a donation.Hosted on Acast. See acast.com/privacy for more information. Hosted on Acast. See acast.com/privacy for more information.
Hi everyone and welcome back to the podcast, this week I'm joined by Skya Powney- an eleve member of Dutch National Ballet. We chat about Skya's journey into ballet, growing up in a family with iconic dance figures and how she separated herself to navigate her own path. You can find Skya on instagram @skyapowney. Thank you so Skya and to everyone who tuned into this weeks episode! Have a great week, love Romy x
In this episode of The Founder Spirit, we talk to Ahmad Joudeh, a dancer and choreographer who overcame immense obstacles. His life story is a true testament to the power of art and the human spirit.Born in Syria as a stateless refugee, he faced opposition from family and received death threats for pursuing his passion as a ballet dancer. With help from the Dutch National Ballet, he moved to Amsterdam, founded the Dance or Die Foundation and fulfilled his dream. Ahmad shares how dance helped him survive in a war-torn country. Despite violence and devastating loss, he found solace in his art, offering free lessons to help children cope with trauma and build resilience. He also talks about his transition to Europe with culture shock and PTSD, while leaving family behind battling to stay afloat. Against overwhelming odds, he continues to thrive and perform internationally as an artist. How did Ahmad persevere through life's unimaginable adversities and go from a stateless refugee to an international ballet star? TUNE IN & find out from this heartening conversation with Ahmad Joudeh, a survivor, who shares his remarkable story about the power of dance, spreading hope and resilience around in world.For detailed transcript and show notes, please visit TheFounderSpirit.com. Also follow us on: LinkedIn: https://www.linkedin.com/company/the-founder-spirit-podcastInstagram: https://www.instagram.com/thefounderspirit_podcastYouTube: https://www.youtube.com/@TheFounderSpiritPodcastFacebook: https://www.facebook.com/TheFounderSpiritTwitter: https://twitter.com/founder_spiritIf this podcast has been beneficial or valuable to you, feel free to become a patron and support us on Patreon.com, that is P-A-T-R-E-O-N.com/TheFounderSpirit.As always, you can find us on Apple, Google, Amazon and Spotify, as well as social media and our website at TheFounderSpirit.com.About This Podcast:Whether you are an entrepreneur, a mid-career professional or someone who's just starting out in life, The Founder Spirit podcast is for you!In this podcast series, we'll be interviewing exceptional individuals from all over the world with the founder spirit, ranging from social entrepreneurs, tech founders, to philanthropists, elite athletes, and more. Together, we'll uncover not only how they manage to succeed in face of multiple challenges, but also who they are as people and their human story.So TUNE IN & be inspired by stories from their life journey!
This July the Dutch National Ballet will be embarking on their first U.S. tour in 40 years and their first stop will be in Idaho.
This episode is fascinating. I talk to Sascha about his long career with ABT, his starring roles in Center Stage and Flesh and Bone, as well as his literary aspirations and fears. We try to figure out the definition of the word pedagogy and if “gogue” can be used as a verb as in “You've got to be goguing me!” I hope you enjoy this candid conversation with Sascha. This is Front Row.Sascha Radetsky has had the career of a creative vagabond. Not only was he a soloist with American Ballet Theatre and a principal with Dutch National Ballet, he was the star of 2000s “Center Stage” and 2015s “Flesh and Bone” among other film and television projects. Sascha is now the artistic director of American Ballet Theatre's Studio Company, which is a pipeline for the world's best talent into the main company. 80% of all current members of ABT are former Studio Company alumni. Host: James Whiteside @jamesbwhitesideGuest: Sascha Radetsky @sascharadetsky Produced by: RedCircle @getredcircleEdited by: Nate Gwatney @nateleegArt by: Javier Rivets @rivets_artTheme: "A-Flat" by Black Violin @blackviolinAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy
In this podcast, Principal Dancer Isaac Hernández shares his unique story of growing up in Mexico as one of 11 kids, being taught to dance by his father and dancing with ABT II, San Francisco Ballet, Dutch National Ballet, his move to English National Ballet, and the decision to return to San Francisco Ballet. Isaac also shares his passion for inspiring the next generation of dancers in Mexico, where he has established projects that provide opportunities for future dance stars. Listen to Isaac talk about his experience of guesting around the world, and working with renowned choreographers, including Christopher Wheeldon as he reprises the role of Prince Guillaume in Wheeldon's dazzling Cinderella. Don't miss the chance to see Isaac perform in Christopher Wheeldon's Cinderella running until 8 April 2023. Get your tickets for Romeo & Juliet, from 21-30 April. For more information visit: San Francisco Ballet PRESS PLAY Isaac Hernández in Forsythe's Blake Works I © Lindsay Thomas
In this podcast, Principal Dancer Isaac Hernández shares his unique story of growing up in Mexico as one of 11 kids, being taught to dance by his father and dancing with ABT II, San Francisco Ballet, Dutch National Ballet, his move to English National Ballet, and the decision to return to San Francisco Ballet. Isaac also shares his passion for inspiring the next generation of dancers in Mexico, where he has established projects that provide opportunities for future dance stars. Listen to Isaac talk about his experience of guesting around the world, and working with renowned choreographers, including Christopher Wheeldon as he reprises the role of Prince Guillaume in Wheeldon's dazzling Cinderella. Don't miss the chance to see Isaac perform in Christopher Wheeldon's Cinderella running until 8 April 2023. Get your tickets for Romeo & Juliet, from 21-30 April. For more information visit: San Francisco Ballet PRESS PLAY Isaac Hernández in Forsythe's Blake Works I © Lindsay Thomas
On today's episode of 'Conversations On Dance', we are joined by Ted Brandsen and Rachel Beaujean, Director and Associate Artistic Director of Dutch National Ballet. We are speaking to them in advance of the company's first tour to the United States in 40 years, which is to take place at the Ballet Sun Valley festival in Sun Valley, Idaho. First, we talk with Ted briefly about his career and his directorship. Then Rachel joins the conversation to discuss how they chose the repertoire for the upcoming tour and what they hope American audiences take away from the performances. Performances and additional events will be held this July 1st and 2nd and tickets can be purchased at balletsunvalley.org. _______________________________________________This episode's sponsors:• For our listeners in Hilton Head, and Charleston South Carolina, we hope you will join Dimensions Dance Theatre of Miami as they tour to your area on March 22 thru 24th. A bold, cutting edge contemporary ballet company founded in 2016 by former Miami City Ballet Principal Dancers Jennifer Kronenberg and Carlos Guerra, DDTM has established itself with a dazzling repertoire and dynamic world class dancers hailing from various Hispanic, North and South American backgrounds. On March 24th, audiences will be treated to a full evening performance – a mixed bill program that will feature Gerald Arpino's masterwork, ‘Light Rain,' a main staple of the Dimensions' repertoire since the company first brought the full ballet to South Florida in 2017. For tickets, visit artshhi.org.LINKS:Rate and Review us on Apple Podcasts: https://apple.co/3RwJqWcJoin our email list: https://bit.ly/3USVfcpInstagram: instagram.com/conversationsondanceFacebook: facebook.com/conversationsondanceFacebook Group: facebook.com/groups/conversationsondancefriendsTwitter: twitter.com/convoondance Hosted on Acast. See acast.com/privacy for more information.
On today's episode of ‘Conversations On Dance', we are joined by Ted Brandsen and Rachel Beaujean, Director and Associate Artistic Director of Dutch National Ballet. We are speaking to them in advance of the company's first tour to the United States in 40 years, which is to take place at the Ballet Sun Valley festival […] The post (333) Ted Brandsen and Rachel Beaujean, Dutch National Ballet Director and Associate Artistic Director, at Ballet Sun Valley appeared first on tendusunderapalmtree.com.
Billie Ortiz, Dr. Royce Fitts and Viviana Guzman explore Julie Tara's dream "Soul Swan". Julie Tara is a Poet, Dreamworker, Nikken Wellness Ambassador, Podcast host of "Inspiring Our World" and former member of the Royal Ballet Theater in London as well as the Dutch National Ballet in Amsterdam. Her website is: http://www.julietara.com Visit the Dreamwork Tool Kit We invite you to call the “dream hotline” where you can leave a question or a snippet of a dream on the voice mail and we will consider featuring your call on an upcoming episode. Call 720-573-9195 (please note that it's a landline so it takes five rings before the voice mail picks up). Royce Fitts Billie Ortiz Viviana Guzman Dream Music from Viviana's Song of the Whale album available on all streaming platforms. Exploring projective dreamwork for your health and wholeness! #dreamwork #dreamsymbols #healingjourney --- Send in a voice message: https://anchor.fm/healingdreamsproject/message
A transcript of this episode is available here: thedanceedit.com/transcript-episode-137Visit/add to the Dance Media Events Calendar: dancemediacalendar.comGet the latest dance news direct by subscribing to our free newsletters. Find the ones that match your interests: dancemagazine.com/subscribeLinks referenced in/relevant to episode 137:-People story on the death of Stephen "tWitch" Boss: people.com/tv/stephen-twitch-boss-dead-at-40-Playbill article on "KPOP"'s abrupt closing: playbill.com/article/broadways-kpop-sets-abrupt-closing-date-NPR piece on proposed "Nutcracker" boycott: ualrpublicradio.org/npr-news/2022-12-09/ukraine-is-calling-for-a-boycott-of-the-nutcracker-ballet-companies-arent-budging-List of 2023 YoungArts award winners: youngarts.org/winners-Ballet Herald "Gargouillade Gate" explainer: balletherald.com/gargouillade-gate-abt-dnb-Gia Kourlas' New York Times essay on the "Wednesday" dance: nytimes.com/2022/12/09/arts/dance/wednesday-dance-jenna-ortega.html-Washington Post story on the paper laying off dance critic Sarah Kaufman: washingtonpost.com/media/2022/12/01/sarah-kaufman-laid-off-Kaufman's last review for WaPo, with a farewell note at the end: washingtonpost.com/theater-dance/2022/12/01/dona-peron-evita-ballet-hispanico-Marina Harss' Dance Magazine essay on the reality of dance journalism today: dancemagazine.com/dance-journalism
Hi everyone and welcome back to another episode of the podcast! In this weeks episode I'm joined by Naira Agvanean, soloist with The Dutch National Ballet. We dive deep into her journey from Armenia, to Germany and then securing a contact at Dutch national after over 50 auditions, she shares her advice and guidance for auditioning and maintaining hope and perseverance during this challenging time in a dancers career. You can find Naira here @nairacoaching and here https://www.nairaagvaneancoaching.com Thanks so much for tuning into this weeks episode and ill see you all soon! Romy xx
Milena Sidorova, is an award-winning Ukrainian-Dutch choreographer, Young Creative Associate at the renowned Dutch National Ballet in Amsterdam and in December 2020 became the first dancer in the history of the Dutch National to officially hold positions as both dancer and choreographer. She has created more than 25 choreographies and has been celebrated for her consistency, originality of voice, playfulness, and “Skin-tingling work.” Some of her recent accomplishments include directing the ballet film Rose, which explores love, and hope through the portrayal of shadows of previous relationships. She's had her work selected by the Royal Opera House in London and the creation of her newest production Regnum, was described as “Brave, and unforgettable” Her video Hold On, inspired by the lock down and filmed by dancers in their homes, went viral and was adapted by the Dutch rock band Di-rect. Her work Tickle, also known as Kriebel, won an international Young Audience Music award and her choreography The Spider has been performed all over the globe. Milena also played the creepy human spider in the Oscar-winning movie Dune. Milena believes in, chasing and blooming, in the continuous change toward who we are meant to be, reflecting on our actions and attitudes, and finding the events, environments and communities that disrupt and then shift our sense of selves. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/cutting-for-sign/message Support this podcast: https://anchor.fm/cutting-for-sign/support
Ahmad Joudeh, a dancer with the Dutch National Ballet, performed at Davos 2022. We hear how he fended off violent opposition to his dancing from his own father and Islamist militants, and how he is using his platform to speak up for million of people who, like him, grow up as stateless refugees.
Ahmad Joudeh, a dancer with the Dutch National Ballet, performed at Davos 2022. We hear how he fended off violent opposition to his dancing from his own father and Islamist militants, and how he is using his platform to speak up for million of people who, like him, grow up as stateless refugees.
Critics Sarah Crompton and Abir Mukherjee review Slow Horses, the brand new series from Apple TV+ starring Gary Oldman, Kristen Scott Thomas, Olivia Cooke, Jack Lowden, Saskia Reeves and Jonathan Pryce. Slow Horses is based on the novel of the same name by Mick Herron, which is part of the author's Slough House series. It tells the story of a team of British intelligence agents who have all committed career-ending mistakes, and subsequently work in a dumping ground department of MI5 called Slough House. New ballet film Coppelia is an innovative family feature with an original score by Maurizio Malagnini, performed by the BBC Concert Orchestra. Choreographed by Dutch National Ballet artistic director Ted Brandsen, it combines 2D and 3D animation with live action dance and features a blend of musical influences from classical to electronic. Based on the original 19th century tales of E.T.A. Hoffmann this modern adaptation tells the love story between Swan and Franz, which is jeopardised by Dr. Coppelius and his uncannily beautiful protégée Coppelia. With a diverse and world-class cast, including Michaela DePrince, Darcey Bussell, Daniel Camargo, Vito Mazzeo and Irek Mukhamedov, the adaptation is created by filmmakers Jeff Tudor, Steven De Beul and Ben Tesseur. Sarah and Abir review. Professor Andrew Biswell, Professor of Modern Literature at Manchester Metropolitan University and Director of the International Anthony Burgess Centre, marks the 50th and 60th anniversaries of ‘A Clockwork Orange' by looking into its history, controversy, and legacy. Front Row will be announcing the winner of the National Poetry Competition this evening. Previous winners include former Poet Laureate Carol Ann Duffy, and distinguished poets Tony Harrison, and Jo Shapcott.
A transcript of this episode is available here: https://thedanceedit.com/transcript-episode-107Subscribe to The Dance Edit Extra: https://podcasts.apple.com/us/podcast/the-dance-edit-extra/id1579075769Links referenced in/relevant to episode 107:-NBCUniversal story on Ukrainian dancers taking up arms: https://www.yahoo.com/now/ukrainian-ballerinas-leave-stage-front-233926943.html-Dutch National Ballet press release about Olga Smirnova and Victor Caixeta joining the company: https://www.operaballet.nl/en/news/prima-ballerina-olga-smirnova-and-soloist-victor-caixeta-make-move-dutch-national-ballet-New York Times story on the Juilliard power struggle: https://www.nytimes.com/2022/03/14/arts/music/juilliard-damian-woetzel-bruce-kovner.html-The Independent coverage of the TikTok "dance cult": https://www.independent.co.uk/news/world/americas/tiktok-dance-cult-miranda-derrick-b2033833.html-Dance Data Project report on dance festivals: https://www.dancedataproject.com/wp-content/uploads/2022/03/2021-U.S.-Dance-Festivals-Report.pdf-Dance Magazine feature on nonbinary dance artists: https://www.dancemagazine.com/nonbinary-dancers/-Guardian interview with William Forsythe: https://www.theguardian.com/stage/2022/mar/13/william-forsythe-i-want-people-to-look-forward-to-ballet-not-endure-it-New York Times article on COVID policies at arts institutions: https://www.nytimes.com/2022/03/09/arts/coronavirus-theaters-masks-rules.html
Welcome listeners to the 21st episode of Anechoic Chamber, once again bringing you unique reportage from the thriving margins of art and culture. Our guest this time is the British sound artist Scanner, known by his human alias Robin Rimbaud. With a staggering number of live actions and recordings to his credit, Scanner's oft-cited and controversial claim to fame has been his usage of intercepted communications and conversations as the raw material with which to build music dramas with an intense poignancy and personal relevance. This practice is, however, just one point of reference in a large body of work that deals with what the artist has called a “archaeology of loss” documenting the ghosts and all-too-quickly forgotten ephemera of the information age. Scanner's enthusiasm for such led to the co-formation of the notable record label Ash International, one of the key labels to fuse esoteric or paranormal interests with aesthetic impression from the hard sciences. His own work has been applied to all kinds of installation environments and contexts, and to collaborations with artists from DJ Spooky to Mike Kelley, and has even earned the endorsement of the late Gilles Deleuze. He has created permanent installations in everything from Riga airport to a Paris morgue, has scored the first virtual reality ballet for the Dutch National Ballet, and also scored a piece in Trafalgar Square for 1,000 dancers. With a restlessness that has extended to his private practice of writing a daily diary entry since he was 12 years old, we at Anechoic Chamber are fortunate to steal some rare moments of his free time. all selections provided by Sacnner, from the following releases (mostly) available to stream / download at https://scanner.bandcamp.com/: - "Sound for Spaces" - "Play Along" - "Mass Observation (Expanded)" - "Esprits de Paris (with Mike Kelley)" - "Electronic Garden" - "Reason by Heart, Sleep by Twilight" - also featured Scanner remix of Scorn "Night Tide," from "Ellipsis" remix album additional artist links: www.scannerdot.com Anechoic Chamber Links: host website | www.thomasbeywilliambailey.net donate via Paypal: tbwb@protonmail.com
Dance Education Canada is proud of our global community of presenters, researchers, scholars, academics, scientists, teachers and students. We know how important a worldly view of dance is and believe it is an essential part of a dance educators knowledge, understanding, practice and training. Today, we are excited to welcome Mr Casey Herd as he joins us for our discussion on a worldly view of dance and how it connects us all. GUEST: Casey Herd began his ballet training at The School for Ballet West & graduated from The Kirov Academy of Ballet in Washington D.C. He began his professional career with American Ballet Theatre in New York City, became a principal dancer with the Pacific Northwest Ballet in Seattle dancer and in 2008 joined the Dutch National Ballet as a principal dancer. After retiring from the stage in 2016, Casey founded Ballet Rising, as part of his life-long passion for art, photography, history, sociology, and travel. INSTA: @balletrising LINKEDIN: Ballet Rising WEBISTE: balletrising.com Disclaimer: Any and all ideas and information presented in the following podcast are those of the presenter. The presenter is not an employee or representative of Dance Education Canada (DEC), and is participating in this podcast on a voluntary basis. The ideas and information they express do not necessarily represent the views of the DEC or its partners, employees or affiliates. The ideas and information expressed herein are for general educational purposes only. They should not necessarily be applied to specific individual situations. DEC recommends consulting an expert or professional regarding specific medical, legal or business concerns. DEC makes no representations about the accuracy or suitability of this content. Please note that Canada's National Academy of Dance Education is now operating as Dance Education Canada.
Today's guest is Tina Fehlandt. Tina Fehlandt was a founding member and integral part of the Mark Morris Dance Group for twenty years, performing in over 50 works choreographed by Mark Morris. With the Group she toured the world and appeared in several television specials, most notably as “Louise” in Mr. Morris' production of The Hard Nut. In Ballet Review, she was hailed as “one of the most beautiful dancers anywhere.” Tina has staged Mark Morris' work at San Francisco Ballet, American Ballet Theatre, Royal New Zealand Ballet, English National Ballet, Royal Ballet Covent Garden, Boston Ballet, Miami City Ballet, Houston Ballet, Dutch National Ballet, and many others. Tina is a full time Lecturer in Dance at Princeton University's Lewis Center for the Arts where she teaches all levels of Ballet and Modern Dance. She continues her association with MMDG as an instructor in the Summer Intensives and as Faculty at The School teaching Professional/Advanced Ballet. For more on this podcast episode: Movers & Shapers: A Dance Podcast
This week on 5.6.7.EIGHT, Aleksandra speaks with Clara Superfine, a dancer with the Dutch National Ballet in Amsterdam. Clara, a North Carolina native, attended the University of North Carolina School of the Arts and the Jacqueline Kennedy Onassis School and danced with the American Ballet Theater Studio Company for one year prior to joining the Dutch National Ballet. Clara is also an avid illustrator and showcases her work through the Superfine Collective, which merges design and ballet. Over the past year, Clara has realized that dancers must exercise their voices as well as they do their bodies. Determined to use art to empower herself and others, Clara has set out a path to connect with dancers globally who are engaged in activism and who want to ensure more diversity and inclusion in the dance world. On the podcast, Clara discusses her belief that artists have the responsibility to drive change in their respective fields — something that she, herself, is seeking to do with ballet. Moving Quotes: "Artists must be at the forefront of change in their artform. I truly believe in the power that we have, as artists, to make an impact on our society. That we can be change makers." "Every day, I ask myself, 'What do I want from this day? Do you love it still?' Because the dance world can be very difficult. And the thing that makes me most proud is that I still love to move. And I seek to discover something new, rather than just being successful." "I feel inspired by my work. I love dance more than ever. And I look forward to going into the theater every day." "As a dancer growing up in the dance world, it's really important to stay open to all different theories and teaching forms and techniques... I try to keep myself in a constant learning state." "When auditioning, the number one thing is trusting yourself and being confident in what you know and what you're doing... Trust that you've done the work and these companies would be lucky to have you." "I just want to be true to my dance and why I love to dance. I just want to share myself through this beautiful artform." Bullet Points (w/ timestamps) - Highlighting key topics discussed: 2:38: Clara walks through her entire journey from humble North Carolina to the Dutch National Ballet. 6:08: Clara describes her experience adapting to a completely different nation and culture at the young age of 19. 9:54: Superfine shares some wisdom around adapting to a new dance company, particularly one in a foreign country or location. 11:59: Superfine gives some advice around making sure your auditions are memorable and effective. 13:09: Clara, an avid learner, shares her thoughts on the one key component to learning as a dancer. 15:22: Clara gives some advice for staying healthy while traveling on tour. 18:18: Superfine, who is also an illustrator, discusses her other passion, the Superfine Collective, where she merges design and illustration with ballet and dance. 21:23: Clara discusses her efforts towards furthering diversity and inclusion in the world and, specifically, within the world of dance. 25:37: Superfine shares what she is most proud of from her entire career thus far. 28:37: Clara looks towards the future and shares some general and specific goals for herself. Bullet List of Resources – Clara Superfine Instagram LinkedIn Dutch National Ballet Company Site Instagram Facebook Twitter YouTube Superfine Collective Instagram Facebook
Host Ilona Europa interview with JANUSZ MADEJ - an actor, DirectorProducer at BLUE GLASS, CEO at Pineal FILMS Production known for Sh!ft (2018) (premiered at Cannes Film Festival), Resolve (2017), 11 (2014) and Stigma (2011). His directing/producing experience ranges from feature films through short films to music videos and commercials. Janusz was born in Warsaw, Poland and was trained as a ballet dancer in Warsaw School of Ballet and Central School of Ballet in UK. He subsequently had a 12 year successful career as a ballet dancer in two world known ballet companies: Northern Ballet Theater in Leeds, UK and 10 years with Dutch National Ballet in Amsterdam, The Netherlands. He graduated from The Los Angeles Film School with Science in Film Degree in 2010 and his theses short film STIGMA had since received a critical acclaim and was selected on numerous film festivals around the world. SPECIAL OFFER for Accent ON! listeners: For period of 1 month Janusz would make available to view for free on YouTube my feature film ‘11’: youtu.be/tSS4dmXCeKI Please check also link to full film ‘SH!FT’ (6.11 minutes) which was premiered in Cannes: youtu.be/tmIV8hBjTP4 Official Facebook page: facebook.com/januszmadej11/ IMDb page: imdb.com/name/nm3323737/ INSTAGRAM:@januszmadej11 BLUE GLASS Official Facebook page: facebook.com/blueglassfilmproduction/ BLUE GLASS Instagram:@blue_glass__thefilm
Ellen Roberts attended UNCSA as a ballet major and Metropolitan School of the Arts as a Dance/Musical Theatre major. She has spent summers training at Bolshoi, The Washington Ballet, Dutch National Ballet, Pittsburgh Ballet Theatre, and more. She spent this year training at The Nashville Ballet and will attend Boston Conservatory at Berklee next year to get her BFA in Musical Theatre. She is also the founder of Humans in Dance Project where she discusses issues in dance and emphasizes the real dancers and real humans in dance. In this episode, Ellen talks about why she started Humans in Dance Project, her hope for dancers to not have to suffer alone, and her hero: Oprah Winfrey.
In this episode we talk to Charlotte Edmonds and Andrew Gardiner about resilience. The government told us recently that dance was not a viable career, and whilst many would strongly dispute that - we probably all acknowledge it’s a difficult, sometimes even punishing choice. So it felt like a good time to check in with some of our dancing workforce to find out how they keep optimum mental and physical health, their tools of self care and how organisations can do better to nurture those who make our art. Andrew and Charlotte discuss what resilience means to them, how their own challenges – of anxiety and dyslexia respectively, have helped them develop greater awareness of the triggers and mechanisms for self-care. Charlotte discusses how her internal struggles find a way out through her art – works such as Sink or Swim for the charity MIND and Grit for the Junior Company of Dutch National Ballet. Andrew talks about the increased sense of responsibility he has for his own team of collaborators when working with his newly founded company Society of Strays and how the switch to making his own work as opposed to embodying the work of others has helped find equilibrium. Both reflect upon the pressures of a dancers rigorous training and the expectations of an ever-demanding industry. Honesty, openness and the ability to sense and respond to triggers are discussed as are the responsibilities we all have to take care of those who work with, for and amongst us. Recording date: Wednesday 16 December 2020 Talking Moves is a Greenwich Dance production Presented by Melanie Precious Production by Carmel Smith, Lucy White and Melanie Precious
On this week's episode, I spoke to the incredible, inspiring Michaela DePrince. The epitome of poise and grace, Michaela is a dancer, author and War Child ambassador. She has overcome tremendous challenges over her lifetime, including grief, war, racism, bullying and more, all in the pursuit of what she calls ‘her soul' – her passion for dance. What stands out for me is her unmistakable grit; a burning desire to prove critics wrong and succeed against all odds. But that dedication is not without a price, and we discuss the emotional and mental toll that it takes to keep performing in the face of a global pandemic, personal losses, and the trauma of racism. This week's episode is a timely reminder to us all to seek out the space we need to take care of ourselves. For Michaela, the arts and classical ballet provide an escape and a means of expression. I hope that with the new year, we can collectively make time to indulge in what grounds us. You can follow @michaeladeprince and you can follow us @gurlstalk. Please send any messages to www.gurlstalk.com and don't forget to subscribe, so you never miss an episode of the Gurls Talk podcast.
At Canada’s National Academy of Dance Education, we believe lesson planning is an important part of every dance teacher’s training, which is why, not only do we publish a DANCE EDUCATORS’ PLANNER designed to help dance educator’s plan out their year, but we also include the topic in Part 1 of our Dance Teacher Training Program. Why is planning, progression and goal setting important? We will discuss its value today in and how it allows our dancers to achieve the fullest extent of their talents. Enlightening us with his experience and knowledge on the topic of motivating our dancers through goal setting is the Artistic Director of the West Australian Ballet Mr. Aurélien Scannella. GUEST: Aurelien is a Belgian born dancer, ballet master, choreographer and director. He completed his training at the prestigious Royal Ballet School of Flanders and was subsequently accepted into the Royal Ballet of Flanders. After three years in Flanders he was appointed as a Soloist at Deutsche Oper am Rhein, and then promoted to the role of Principal Dancer the State Theatre Wiesbaden, Deutsche Oper Berlin and Ballett Basel. In 2008, he retired from dancing to focus on teaching. Quickly, Aurélien became one of the most sought after Ballet Masters on the market working with some of the best companies around the world such as Dutch National Ballet, Finnish National Ballet, Royal Swedish Ballet and Hong Kong Ballet. Aurélien took the helm as West Australian Ballet’s Artistic Director in 2013 and has since developed the West Australian Ballet into a versatile and diverse 21st-century company with a total of nine nationalities represented within the company. Disclaimer: Any and all ideas and information presented in the following podcast are those of the presenter. The presenter is not an employee or representative of Dance Education Canada Inc. (“DEC”) and is participating in this podcast on a voluntary basis. The ideas and information they express do not necessarily represent the views of the DEC or its partners, employees or affiliates. The ideas and information expressed herein are for general educational purposes only. DEC makes no representations about the accuracy or suitability of this content. They should not necessarily be applied to specific individual situations. DEC recommends consulting an expert or professional regarding specific medical, legal or business concerns.
Same SpacesThe Same Space, the latest dance film project by Peter Leung, The Same Space is part of the Virtual Residences of de Nederlandse Dansdagen. The piece can be watched here:https://www.operaballet.nl/en/news/2020/10/online-premiere-same-space-peter-leungIn this episode of the podcast, Ayoto Ataraxia speaks with Peter Leung about creating during the time of Covid-19They discuss: masculinity identity and asian roots Peter Leung's new piece, “Same Space” how they relate to names the idea of male leadershipPeter Leung, is a choreographer and artistic director. He danced with the Bayerisches Staatsballett, Le Ballet de l'Opéra de Lyon and Dutch National Ballet. He is one of the founders of Foundation House of Makers, an interdisciplinary, site-specific arts company. Since January 2017 Peter has been affiliated with the Dutch National Ballet as a Young Creative Associate.He has created work for Dutch National Ballet, New English Ballet Theatre, Origen Cultural Festival, van Gogh Museum, Boijmans Van Beuningen Museum, Rotterdam Kunsthal, EYE museum and Tropenmuseum.The Same Space, the latest dance film project by Peter Leung, The Same Space is part of the Virtual Residences of de Nederlandse Dansdagen. The piece can be watched here:https://www.operaballet.nl/en/news/2020/10/online-premiere-same-space-peter-leungTranscripts can be found on www.ayotoataraxia.comYou can your thoughts with me via Twitter or Instagram, via Asian Provocation
English National Ballet and Dutch National Ballet former Artistic Director, former Royal Ballet Senior Principal Dancer and world renowned choreographer Wayne Eagling, talks to The Wonderful World of Dance about his dance career, training with Dame Ninette de Valois, working with Sir Kenneth MacMillan and Sir Frederick Ashton, life at the famous Royal Opera House and hanging out with his friend Rudolf Nureyev. In this podcast, Wayne gives an insight into his 22 years with The Royal Ballet, his time as Artistic Director for the Dutch National Ballet and returning home after 14 years to become the Artistic Director of the English National Ballet. This wonderful conversation also looks into his extensive body of choreographic work for top companies around the world from The Royal Ballet, La Scala, Rome Opera Ballet, Hong Kong Ballet, Kremlin Ballet and during his tenures at English National Ballet and the Dutch National Ballet. New English Ballet Theatre in 'REMEMBRANCE' by Wayne Eagling. Photo by Deborah Jaffe Wayne talks about his latest project, working with the New English Ballet Theatre who premiered on YouTube, his dynamic narrative ballet, ‘REMEMBRANCE', (available on YouTube until 15 December 2020). REMEMBRANCE tells the universal story of love, loss and war based on the life of Dame Marie Rambert – founder of Britain's first and oldest ballet company – and her husband, the playwright Ashley Dukes. Listen to Wayne talk about working with the New English Ballet Theatre, rehearsing with the dancers and seeing his work move online during the coronavirus pandemic. NEBT in 'REMEMBRANCE' by Wayne Eagling. Photo by Deborah Jaffe PRESS PLAY!
English National Ballet and Dutch National Ballet former Artistic Director, former Royal Ballet Senior Principal Dancer and world renowned choreographer Wayne Eagling, talks to The Wonderful World of Dance about his dance career, training with Dame Ninette de Valois, working with Sir Kenneth MacMillan and Sir Frederick Ashton, life at the famous Royal Opera House and hanging out with his friend Rudolf Nureyev. In this podcast, Wayne gives an insight into his 22 years with The Royal Ballet, his time as Artistic Director for the Dutch National Ballet and returning home after 14 years to become the Artistic Director of the English National Ballet. This wonderful conversation also looks into his extensive body of choreographic work for top companies around the world from The Royal Ballet, La Scala, Rome Opera Ballet, Hong Kong Ballet, Kremlin Ballet and during his tenures at English National Ballet and the Dutch National Ballet. New English Ballet Theatre in 'REMEMBRANCE' by Wayne Eagling. Photo by Deborah Jaffe Wayne talks about his latest project, working with the New English Ballet Theatre who premiered on YouTube, his dynamic narrative ballet, ‘REMEMBRANCE’, (available on YouTube until 15 December 2020). REMEMBRANCE tells the universal story of love, loss and war based on the life of Dame Marie Rambert – founder of Britain’s first and oldest ballet company – and her husband, the playwright Ashley Dukes. Listen to Wayne talk about working with the New English Ballet Theatre, rehearsing with the dancers and seeing his work move online during the coronavirus pandemic. NEBT in 'REMEMBRANCE' by Wayne Eagling. Photo by Deborah Jaffe PRESS PLAY!
Ms. Veronique studied and danced professionally in Europe for over 20 years, including 7 years with the Dutch National Ballet in Amsterdam and she currently is offering GYROTONIC® and GYROKINESIS® training in which incorporates principles of movement she mastered during her dance career, as well as physiology and injury prevention principals she learned with massage therapy. In the episode, Ms. Veronique is incredibly open to her experiences in her dance journey and also shares tips and insight about how to move on from the embedded image and expectation of ballet. Ms. Veronique is such an inspiring person and I am honored to share our conversation with you all.
Chapters00:32 - Personal History and storing memories01:28 - Tape recorders capturing birthdays and school trips02:59 - Ambient football on cassette03:46 - Discovering John Cage04:31 - Scores of Stockhausen05.18 - Live music05:52 - David Tudor07:39 - Modular Synth discovery09:23 - In the Studio playtime, Modular Synths, Gesture Arcade11:24 - Lorre-Mill Keyed Mosstone, Ciat-Lonbarde Cocoquantus 211:53 - Lorre-Mill Double Knot, Eventide H913:16 - Macumbista Benjolin17:38 - Morphagene17:57 - Musique Concrète20:41 - Teac Reel-to-Reel21:16 - Tape Loops22:30 - Dinner for Two24:59 - Avoiding the screen25:16 - Going in a loop26:04 - How nothing has changed27:01 - OutroRobin Rimbaud BiogScanner (British artist Robin Rimbaud) traverses the experimental terrain between sound and space connecting a bewilderingly diverse array of genres. Since 1991 he has been intensely active in sonic art, producing concerts, installations and recordings, the albums Mass Observation (1994), Delivery (1997), and The Garden is Full of Metal (1998) hailed by critics as innovative and inspirational works of contemporary electronic music. To date he has scored 65 dance productions, including the hit musical comedy Kirikou & Karaba Narnia, Qualia for the London Royal Ballet, and the world's first Virtual Reality ballet, Nightfall, for Dutch National Ballet.More unusual projects have included designing sound for the Philips Wake-Up Light (2009), the re-opening of the Stedelijk Museum, Amsterdam in 2012 and the new Cisco telephone system used in many offices around the world. His work Salles des Departs is permanently installed in a working morgue in Paris whilst Vex, the residential house by Chance de Silva architects, featuring his permanent soundtrack, won the RIBA London Award 2018.Committed to working with cutting edge practitioners he collaborated with Bryan Ferry, Wayne MacGregor, Mike Kelley, Torres, Michael Nyman, Steve McQueen, Laurie Anderson and Hussein Chalayan, amongst many others.http://www.scannerdot.comHis latest album, An Ascent, was recently released on the DiN Records label - https://din.org.uk/album/an-ascent-din63Where To Get The KitGesture ArcadeLorre-Mill Keyed MosstoneCiat-Lonbarde CocoquantusLorre-Mill Double KnotMacumbista BenjolinMorphagene
Casey Herd has worked with just about every ballet company you can think of! A former principal dancer of Pacific Northwest Ballet and Dutch National Ballet, Hannah and Carly ask him a lot of questions on the nitty gritty of the ballet world. Casey discusses his experience training in ballet as a young boy, and his new organization, Ballet Rising, which is joining a movement ‘to make ballet a truly global art form that welcomes all to take part. Don’t forget to write a review in Apple podcasts, and send email to countmeinpodcast@gmail.com! Follow us on instagram @countmeinpodcast, and rate on iTunes! Casey: @caseyhphoto Ballet Rising: @balletrising Balletrising.com Carly: @CarlyFayedance Hannah: @hannahmae92 Producer Corey: @CoreyJennings
Here's the link to the Dance/USA campaign mentioned in this episode. Please ask Congress to support more relief for dance!Are you a dancer looking for financial assistance during the pandemic? There's a good list of resources here, and here's a guide for freelancers specifically. If you'd like to help dancers in need, find out how here.
Are you a dancer looking for financial relief during the pandemic? There's a good list of resources here, and here's a guide for freelancers specifically. If you'd like to help dancers in need, find out how here.
Juliet Burnett grew up in Sydney, while spending considerable time in Indonesia. Dancing was in Juilet’s blood; her grandmother, was the Sultan’s star dancer at his court in Jogjakarta. At the age of five her parents enrolled her in ballet school to see if she took after her grandmother. Later, Juliet studied at The Australian Ballet School, before joining the company in 2003. Juliet has worked in creations by Wayne McGregor, Stanton Welch, Alexei Ratmansky, Krysztof Pastor, Nicolo Fonte, Maina Gielgud, Rudolf Nureyev, Peggy van Praagh, Matjash Mrozewski, Stephen Baynes, Gideon Obarzanek, Graeme Murphy and Stephen Page. In mid-2015, Juliet left The Australian Ballet after her final show as Giselle. She left to become a freelance dancer performing in Australia and Indonesia, working with a range of people including Melanie Lane, a childhood friend. In 2016, Juliet made the move to Europe to join Ballet Vlaanderen, Belgium's premier dance company, under the directorship of renowned choreographer Sidi Larbi Cherkaoui. Since 2016, Juliet has been a First Soloist with Ballet Vlaanderen, where she has had new creations made for her by Édouard Lock in The Heart of August and The Heart of August ... continued and Sidi Larbi Cherkaoui in his Requiem. Other roles include the title role in Akram Khan’s Giselle, in William Forsythe's Approximate Sonata and Workwithinwork, Pina Bausch's Café Müller, in Benjamin Millepied’s Bach Studies, as Marguerite in Jean-Christophe Maillot's Faust, as Queen Fabiola in Jeroen Verbruggen's Ma Mére L'Oye, Trisha Brown’s Twelve Ton Rose, in Alexander Ekman’s Joy, in Sidi Larbi Cherkaoui's Firebird, Memento Mori, Exhibition and Fall, and the Snow Queen in Demis Volpi's Nutcracker. In 2017 she danced as Guest Artist with Dutch National Ballet, in Remi Wortmeyer's new creation, Passing Shadows. Juliet is also a writer, having been a regular contributor for Dance Tabs, MDM Dancewear's website and The Australian Ballet's blog Behind Ballet. She has written for other publications including Vogue Australia, Dance International and Gourmet Traveller magazines.
Juliet Burnett grew up in Sydney, while spending considerable time in Indonesia. Dancing was in Juilet’s blood; her grandmother, was the Sultan’s star dancer at his court in Jogjakarta. At the age of 5 her parents enrolled her in ballet school to see if she took after her grandmother. Later Juliet studied at The Australian Ballet School, before joining the company in 2003. Juliet has worked in creations by Wayne McGregor, Stanton Welch, Alexei Ratmansky, Krysztof Pastor, Nicolo Fonte, Maina Gielgud, Rudolf Nureyev, Peggy van Praagh, Matjash Mrozewski, Stephen Baynes, Gideon Obarzanek, Graeme Murphy and Stephen Page. In mid-2015 Juliet left The Australian Ballet after her final show as Giselle. She left to become a freelance dancer performing in Australia and Indonesia, working with a range of people including Melanie Lane, a childhood friend. In 2016 Juliet made the move to Europe to join Ballet Vlaanderen, Belgium's premier dance company, under the directorship of renowned choreographer Sidi Larbi Cherkaoui. Since 2016 Juliet has been a First Soloist with Ballet Vlaanderen, where she has had new creations made for her by Édouard Lock in The Heart of August and The Heart of August ... continued and Sidi Larbi Cherkaoui in his Requiem. Other roles include the title role in Akram Khan’s Giselle, in William Forsythe's Approximate Sonata and Workwithinwork, Pina Bausch's Café Müller, in Benjamin Millepied’s Bach Studies, as Marguerite in Jean-Christophe Maillot's Faust, as Queen Fabiola in Jeroen Verbruggen's Ma Mére L'Oye, Trisha Brown’s Twelve Ton Rose, in Alexander Ekman’s Joy, in Sidi Larbi Cherkaoui's Firebird, Memento Mori, Exhibition and Fall, and the Snow Queen in Demis Volpi's Nutcracker. In 2017 she danced as Guest Artist with Dutch National Ballet, in Remi Wortmeyer's new creation, Passing Shadows. Juliet is also a writer, having been a regular contributor for Dance Tabs, MDM Dancewear's website and The Australian Ballet's blog Behind Ballet. She has written for other publications including Vogue Australia, Dance International and Gourmet Traveller magazines. With such an extensive career and so many interesting things to talk about this interview is presented in two parts.
The critically acclaimed award-winning Annabelle Lopez Ochoa is a choreographer that you need to know. A prolific artist, she has created dance works for over 60 top ballet and dance companies including: English National Ballet, Dutch National Ballet, Finnish National Ballet, The Washington Ballet, Ballet Black, Dance Theatre of Harlem and so many more. Annabelle has recently been bestowed another award, receiving the Jacob's Pillow Choreography Award to add to her long list of accolades. In this podcast, Annabelle shares her inspiration for the many unique works that she's choreographed, including the incredible biopic of Frida Kahlo 'Broken Wings' created for ENB, which she has turned into a full length ballet for the Dutch National Ballet (premiering in February), plus the award-winning A Street Car Named Desire. Listen to Annabelle talk about her career as a professional dancer, her move to create full-time, her creative process and how she works with dancers to devise stunning works for theatre, opera, musical theatre and dance. PRESS PLAY. https://djwpodcasts.s3-eu-west-1.amazonaws.com/1wwwod/Annabelle+final.mp3 Katja Khaniukova as Frida with ENB Artists in Annabelle Lopez Ochoa's Broken Wings. Photo by Laurent Liotardo
Over the course of a fast-paced conversation with Cathy Levy, Helsinki-born Mikko Nissinen, Artistic Director of Boston Ballet, describes how he stumbled into dance and how a strong technique and infectious enthusiasm for the art form rapidly led him to soloist roles with The Finnish National Ballet, Dutch National Ballet, Basel Ballet and San Francisco Ballet. Having always aspired to be an artistic director, he assumed this position with Marin Ballet and Alberta Ballet before joining Boston Ballet in 2005 as an agent of change. The company has since grown exponentially in size, purpose and reputation, enticing most recently the great William Forsythe to make it his home.
This week on 5.6.7.EIGHT, Aleksandra sits down with Casey Herd, a former principal dancer and now the founder and director of a documentary film series — Ballet Rising — about the rise in popularity of classical ballet around the world. Originally from Utah, Casey danced for a number of well-known ballet companies before becoming a principal dancer for the Dutch National Ballet. His exceptional performances captured the attention of dance publications such as Dance Europe, who once ranked Herd 19th of the top 100 international dancers who have made outstanding achievements. Herd’s passion for ballet is unmatched and has pushed him to find ways to better unite the global ballet community, yet even he admits that there are things he could have done better early in his career. On the podcast, Casey outlines all of the ways he’s celebrating the art of ballet across the world, discusses the importance of how you react to successes and failures, and explains why today is a particularly exciting time for the international artform of ballet. Moving Quotes: “All of a sudden, people are saying, ‘Oh, ballet represents me too. It’s not something for white people in Europe anymore. There are black dancers, Indian dancers — there’s everybody now. It really represents everybody.’" “Understand that not everything is going to go your way. You’ll have many moments when things don’t turn out the way you think — or don’t turn out at all. And it’s how you deal with those moments — how you conduct yourself as a professional and a person — that really are going to define you." Bullet Points (w/ timestamps) - Highlighting key topics discussed: 3:24: Casey describes his current documentary film project — Ballet Rising — where he travels the world, finding love of ballet in the most unlikely of places. 5:48: Casey discusses some of the filmed locales for Ballet Rising and recounts inspirational stories from two of these locations. 14:20: Herd reflects on his professional dance career and how he ended up at the Dutch National Ballet after spending some of the best years of his life with Seattle’s Pacific Northwest Ballet. 17:09: Casey discusses the incredible rise of male ballet dancers and how the demographic shifts happening within ballet are improving the art. 20:54: Herd shares some advice for young, aspiring dancers, including the importance of leaving a good impression through your behavior and actions, regardless of circumstance. 24:08: Casey discusses some of his ongoing projects and goals, all in an effort to bring the global ballet community closer together. Bullet List of Resources – Casey Herd LinkedIn Instagram Ballet Rising Company Website
(http://www.advanceyourart.com/wp-content/uploads/2019/10/BarkerGala0117copy.jpg) MEET CASEY HERD Casey Herd was born in Salt Lake City, USA where he began his ballet training at The School for Ballet West. After graduating from The Kirov Academy of Ballet in Washington D.C. he began his professional career with American Ballet Theatre in New York City. He later joined Pacific Northwest Ballet in Seattle where he quickly rose to the rank of principal dancer. While in Seattle Mr. Herd’s repertoire expanded dramatically to include leading roles in works by some of the great choreographers such as George Balanchine, William Forsythe, Jerome Robbins, and many more. Having previously been a guest artist with the Dutch National Ballet, he was invited in 2008 to join the company as a principal. In 2011, Dance Europe placed Mr. Herd nineteenth in their top 100 international dancers who have made outstanding achievements. In 2012 he received The Alexandra Radius Award. In the jury report, they credit him for being a “phenomenal partner and versatile in both the classical and contemporary repertoire” and has danced with many of the world’s most renowned ballerinas. Mr. Herd was twice invited as a principal guest artist with San Francisco Ballet, and has been invited to perform leading roles with many other prestigious ballet companies and Galas throughout the world, such as English National Ballet, The Royal New Zealand Ballet, The Lithuanian National Ballet, and was invited to go back and guest with Pacific Northwest Ballet in Seattle. He danced in the Prix Benois de la Danse Gala, 2009 in Vicenza, Italy and 2011 in Moscow, Russia, the Dance Open Festival in St. Petersburg, Russia, Prague Ballet Festival, the Gala de Ballet Despertares a gala of international ballet stars in Mexico City, Ballet Festival in Tokyo, Japan and Osaka, Japan, Fall For Dance Festival in New York City, Miami International Ballet Gala, Dance Across America at the Kennedy Center in Washington, D.C. and International Dance Festival in Havana, Cuba. He has also worked in independent projects in Seoul, Korea, and Copenhagen, Denmark. After leaving the Dutch National Ballet in 2016 he began a career as an international guest artist and teacher. In 2019 Mr. Herd was inspired to create a new initiative called Ballet Rising, deriving from his life-long passion for art, photography, history, sociology, and having extensively traveled much of the world. As Ballet Rising allows for his continued involvement and development of ballet, it also allows Mr. Herd to engage in a wide range of subjects, and with far more people around the world. CONTACT: www.balletrising.com (http://www.balletrising.com) https://twitter.com/BalletRising (https://twitter.com/BalletRising) https://www.instagram.com/balletrising/ (https://www.instagram.com/balletrising/) https://www.youtube.com/channel/UC3XCnuKU5zx1ZoLkA8ORR5Q (https://www.youtube.com/channel/UC3XCnuKU5zx1ZoLkA8ORR5Q) SUPPORT THE SHOW BECAUSE I LOVE PUPPIES! https://www.berglearning.com/ (https://www.berglearning.com/) Use coupon code:Yuri10 If you’re looking for a high-quality CBD Oil click on the link and try out zilis. I’ve been using them for a few weeks and I’m sleeping better and have less joint pain. Zilis CBD Oil (https://shop.zilis.com/#/shop/from/7143366) This podcast is brought to you by Audible. I have used Audible for years, and I love audiobooks. Click on the link to get a 30-day free trial, complete with a credit for a free audiobook download Audible.com (http://www.audibletrial.com/Yuri)
This episode's guest is Charlotte Edmonds. Charlotte is a choreographer and dancer who trained at the Royal Ballet and Rambert School. She was the inaugural Royal Ballet Young Choreographer between 2015-2018 and has since worked with a plethora of film makers, composers and artists to create works using dance to portray the complexities of society. She is currently working on a new commission for the Dutch National Ballet and a ground-breaking dance based exhibit and documentary exploring the super-powers of Dyslexia. Recorded at the Royal Opera House, London.Support the show (https://www.patreon.com/stevexoh)
This week on 5.6.7.EIGHT, Aleksandra chats with Mikko Nissinen, Artistic Director of the Boston Ballet and Boston Ballet School — the largest ballet school in North America. Mikko was born in Finland and has danced for numerous ballet companies, including the Finnish National Ballet, the Dutch National Ballet, Basel Ballet, and the San Fransisco Ballet, where he spent a full decade as principal dancer. Prior to his current role, Mikko served as Executive Director of the Boston Ballet, where he carried out a number of large-scale efforts such as a complete company rebrand and a move to a new, permanent performance home — the Boston Opera House. Nissinen loves the art of ballet, and his passion for the craft is evident through his life and words. On the podcast, he discusses how dance has a transformative power that can even impact entire cultures. Mikko spends some time reflecting on his career as a dancer and how his best dance experiences have been rooted in the camaraderie of dancers that are selflessly performing for the good of the company. Perhaps most importantly, Mikko shares advice that is applicable for both dancers and non-dancers about leaning into your strengths and sharpening your weaknesses through diligent practice.
From an Orphanage in Sierra Leone during the country’s civil war to becoming the soloist at the Dutch National Ballet and dancing in a Beyonce music video, Michaela has lived an unbelievably inspiring journey – one that simply must be shared with the world. Here, she opens up about race, mental health and her childhood, and takes us through the lessons she has learnt along the way.
Principal ballerina at the Dutch National Ballet, Sasha Mukhamedov, takes Nick and the listener with her into the world of ballet. Sasha was raised in the United Kingdom, by parents who both danced at the highest level. She moved to the Netherlands to join the Dutch National Ballet when she was 18 years old and has since had many incredible performances with this company. Nick learns about what it takes to be a ballerina, physically and mentally, and how Sasha's feels about life in the Netherlands.
There’s something magical about the healing effect of music and its ability to connect humans to one another. Nicolette, music director and chief conductor of The Australian Ballet, tells us what it’s like to act as the conduit between orchestra and dancers and why she likes to relax with Queen.BIO In 1992 Nicolette became music director and chief conductor of the Dutch National Ballet. She debuted with The Australian Ballet in 2002, and in 2003 became the company’s music director and chief conductor. She has since conducted all The Australian Ballet’s programs, including all its overseas tours, and has been a guest conductor with San Francisco Ballet, Birmingham Royal Ballet and New York City Ballet. In 2014 Nicolette became artistic director of Orchestra Victoria. See acast.com/privacy for privacy and opt-out information.
Cathy chats with Canadian-born Aaron S. Watkin one day before the National Arts Centre debut of Semperoper Ballett Dresden with his production of Swan Lake. Since graduating from the National Ballet School of Canada in 1988, Aaron has enjoyed a dizzyingly rich and varied classical and contemporary dance career with The National Ballet of Canada, English National Ballet, Dutch National Ballet, William Forsythe's Ballett Frankfurt and Nacho Duato's Compania Nacional de Danza. He speaks of his close association with Forsythe; making the leap from dancer to guest teacher and finally to artistic director of Semperoper Ballett in 2006 where he proceeded to build the company's contemporary repertoire and modernize its troupe. In his ongoing attempt to erase the border between classical and contemporary dance, he introduced his Dresden audience to Jiří Kylián, William Forsythe and Mats Ek, among other choreographers. He also developed a passion for reimagining classical ballets.
When I think of the name “Billy Wilson” certain things come to mind immediately. I think of his sparkling career as director and choreographer of “Bubbling Brown Sugar” on Broadway. I am still stunned by his ability to shift from Broadway and back again so readily into making master works for the concert dance stage – Wilson’s works are in the repertory today of the Alvin Ailey American Dance Theatre, Dayton Contemporary Dance Company, Philadanco (Philadelphia Dance Company) and the Dance Theater of Harlem. I am all warm inside when I remember seeing the lush, rhythmic and striking choreography he created to the music of Dizzy Gillespie for his last work of concert dance, “The Winter in Lisbon” (1992.) A tour de force, Wilson was a passionate and celebrated dancer during his time as a soloist with the Dutch National Ballet and was later founder of the Dance Theater of Boston. For me, Billy Wilson is one of those names in dance history that is all too often reduced to a footnote that obfuscates his career and contributions to dance at home and abroad. I am thrilled that his daughter, Alexis Wilson, has stepped up and out to ensure that her father’s legacy survives, all while sharing her own voice and lived experiences with deep integrity. Alexis Wilson’s touching and deeply personal book Not So Black and White (Tree Spirit Publishing, 2012) goes well beyond the commonly known information about her father’s life and work to reveal her experience growing up as the daughter of this dance genius. This book is her memoir, which is at once both a loving homage to her father, a meditation on her life as the biracial daughter of Wilson and a Dutch ballerina (Sonja van Beers) and a narrative that strives for reconciliation of the contradictions that shaped Alexis’s life. Abandoned by her mother at the age of 11, moving through the worlds of ballet and Broadway and navigating her life journey with her father and his chosen life partner (Chip Garnett) are just a taste of what shaped Alexis’s experiences. An accomplished dancer, author, mother and more, Alexis Wilson does what she did not have to do in this book: she pours herself onto the page so that others might have a lens through which to know who her father was beyond the footlights and a look at how race, class, art, love and pain intertwine to create a stunning portrait of her life. This work is at once deeply personal and relevant to the history of 20th century American dance. With a foreword by actor Blair Underwood, Not So Black and White is not to be missed. Today, Alexis Wilson makes her home in Columbus, OH with her two daughters and her husband, Byron. Learn more about your ad choices. Visit megaphone.fm/adchoices
When I think of the name “Billy Wilson” certain things come to mind immediately. I think of his sparkling career as director and choreographer of “Bubbling Brown Sugar” on Broadway. I am still stunned by his ability to shift from Broadway and back again so readily into making master works for the concert dance stage – Wilson’s works are in the repertory today of the Alvin Ailey American Dance Theatre, Dayton Contemporary Dance Company, Philadanco (Philadelphia Dance Company) and the Dance Theater of Harlem. I am all warm inside when I remember seeing the lush, rhythmic and striking choreography he created to the music of Dizzy Gillespie for his last work of concert dance, “The Winter in Lisbon” (1992.) A tour de force, Wilson was a passionate and celebrated dancer during his time as a soloist with the Dutch National Ballet and was later founder of the Dance Theater of Boston. For me, Billy Wilson is one of those names in dance history that is all too often reduced to a footnote that obfuscates his career and contributions to dance at home and abroad. I am thrilled that his daughter, Alexis Wilson, has stepped up and out to ensure that her father’s legacy survives, all while sharing her own voice and lived experiences with deep integrity. Alexis Wilson’s touching and deeply personal book Not So Black and White (Tree Spirit Publishing, 2012) goes well beyond the commonly known information about her father’s life and work to reveal her experience growing up as the daughter of this dance genius. This book is her memoir, which is at once both a loving homage to her father, a meditation on her life as the biracial daughter of Wilson and a Dutch ballerina (Sonja van Beers) and a narrative that strives for reconciliation of the contradictions that shaped Alexis’s life. Abandoned by her mother at the age of 11, moving through the worlds of ballet and Broadway and navigating her life journey with her father and his chosen life partner (Chip Garnett) are just a taste of what shaped Alexis’s experiences. An accomplished dancer, author, mother and more, Alexis Wilson does what she did not have to do in this book: she pours herself onto the page so that others might have a lens through which to know who her father was beyond the footlights and a look at how race, class, art, love and pain intertwine to create a stunning portrait of her life. This work is at once deeply personal and relevant to the history of 20th century American dance. With a foreword by actor Blair Underwood, Not So Black and White is not to be missed. Today, Alexis Wilson makes her home in Columbus, OH with her two daughters and her husband, Byron. Learn more about your ad choices. Visit megaphone.fm/adchoices
When I think of the name “Billy Wilson” certain things come to mind immediately. I think of his sparkling career as director and choreographer of “Bubbling Brown Sugar” on Broadway. I am still stunned by his ability to shift from Broadway and back again so readily into making master works for the concert dance stage – Wilson’s works are in the repertory today of the Alvin Ailey American Dance Theatre, Dayton Contemporary Dance Company, Philadanco (Philadelphia Dance Company) and the Dance Theater of Harlem. I am all warm inside when I remember seeing the lush, rhythmic and striking choreography he created to the music of Dizzy Gillespie for his last work of concert dance, “The Winter in Lisbon” (1992.) A tour de force, Wilson was a passionate and celebrated dancer during his time as a soloist with the Dutch National Ballet and was later founder of the Dance Theater of Boston. For me, Billy Wilson is one of those names in dance history that is all too often reduced to a footnote that obfuscates his career and contributions to dance at home and abroad. I am thrilled that his daughter, Alexis Wilson, has stepped up and out to ensure that her father’s legacy survives, all while sharing her own voice and lived experiences with deep integrity. Alexis Wilson’s touching and deeply personal book Not So Black and White (Tree Spirit Publishing, 2012) goes well beyond the commonly known information about her father’s life and work to reveal her experience growing up as the daughter of this dance genius. This book is her memoir, which is at once both a loving homage to her father, a meditation on her life as the biracial daughter of Wilson and a Dutch ballerina (Sonja van Beers) and a narrative that strives for reconciliation of the contradictions that shaped Alexis’s life. Abandoned by her mother at the age of 11, moving through the worlds of ballet and Broadway and navigating her life journey with her father and his chosen life partner (Chip Garnett) are just a taste of what shaped Alexis’s experiences. An accomplished dancer, author, mother and more, Alexis Wilson does what she did not have to do in this book: she pours herself onto the page so that others might have a lens through which to know who her father was beyond the footlights and a look at how race, class, art, love and pain intertwine to create a stunning portrait of her life. This work is at once deeply personal and relevant to the history of 20th century American dance. With a foreword by actor Blair Underwood, Not So Black and White is not to be missed. Today, Alexis Wilson makes her home in Columbus, OH with her two daughters and her husband, Byron. Learn more about your ad choices. Visit megaphone.fm/adchoices
When I think of the name “Billy Wilson” certain things come to mind immediately. I think of his sparkling career as director and choreographer of “Bubbling Brown Sugar” on Broadway. I am still stunned by his ability to shift from Broadway and back again so readily into making master works for the concert dance stage – Wilson's works are in the repertory today of the Alvin Ailey American Dance Theatre, Dayton Contemporary Dance Company, Philadanco (Philadelphia Dance Company) and the Dance Theater of Harlem. I am all warm inside when I remember seeing the lush, rhythmic and striking choreography he created to the music of Dizzy Gillespie for his last work of concert dance, “The Winter in Lisbon” (1992.) A tour de force, Wilson was a passionate and celebrated dancer during his time as a soloist with the Dutch National Ballet and was later founder of the Dance Theater of Boston. For me, Billy Wilson is one of those names in dance history that is all too often reduced to a footnote that obfuscates his career and contributions to dance at home and abroad. I am thrilled that his daughter, Alexis Wilson, has stepped up and out to ensure that her father's legacy survives, all while sharing her own voice and lived experiences with deep integrity. Alexis Wilson's touching and deeply personal book Not So Black and White (Tree Spirit Publishing, 2012) goes well beyond the commonly known information about her father's life and work to reveal her experience growing up as the daughter of this dance genius. This book is her memoir, which is at once both a loving homage to her father, a meditation on her life as the biracial daughter of Wilson and a Dutch ballerina (Sonja van Beers) and a narrative that strives for reconciliation of the contradictions that shaped Alexis's life. Abandoned by her mother at the age of 11, moving through the worlds of ballet and Broadway and navigating her life journey with her father and his chosen life partner (Chip Garnett) are just a taste of what shaped Alexis's experiences. An accomplished dancer, author, mother and more, Alexis Wilson does what she did not have to do in this book: she pours herself onto the page so that others might have a lens through which to know who her father was beyond the footlights and a look at how race, class, art, love and pain intertwine to create a stunning portrait of her life. This work is at once deeply personal and relevant to the history of 20th century American dance. With a foreword by actor Blair Underwood, Not So Black and White is not to be missed. Today, Alexis Wilson makes her home in Columbus, OH with her two daughters and her husband, Byron. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/african-american-studies
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