Podcasts about la bayad

" I think the narrative structure of those story ballets, which were some of the biggest stories of my childhood. I grew up watching Swan Lake. Giselle, La Bayadère, these were stories that were as present to me as anything that I read. Those story ballets are often split in two parts in a way. You have the White Swan and the Black Swan. In Giselle, you have the young girl and then you have the shade, the kind of ghost who comes to haunt her, her lover. Very similar in La Bayadère. And the structure of this novel is in two parts and it's two versions, in a way, of the same character. And now that you said it, I wonder if in some way, without realizing it, that narrative structure had really seeped into my brain."Katie Kitamura is the author five novels, most recently Audition and Intimacies, which was named one of the New York Times 10 Best Books of 2021, longlisted for the National Book Award and the PEN/Faulkner Award, and a finalist for a Joyce Carol Oates Prize. She is a recipient of the Rome Prize in Literature, fellowships from the Cullman Center and the Lannan Foundation, and many other honors. Her work has been translated into twenty-one languages. She teaches in the creative writing program at New York University.Episode Websitewww.creativeprocess.info/podInstagram:@creativeprocesspodcast

Strecker, Nicole www.deutschlandfunk.de, Kultur heute

Phil Chan is a choreographer, director and ballet scholar who seven years ago decided to turn a longstanding frustration into a wellspring of activism. Although American entertainment had made great progress in eliminating the use of blackface, demeaning and wildly inaccurate depictions of Asians and Asian-ness continued to appear on ballet stages. He therefore teamed up with prima ballerina Georgina Pazcoguin to create Final Bow for Yellowface, an organization that started working with ballet companies in America and Europe to eliminate offensive depictions of Asians in their repertoires and help them find inventive and respectful ways to stage culturally problematic ballet classics.Their work has paid off, notching up notable successes here and abroad and changing the culture in ballet companies to value and welcome a broad array of artists. Phil distilled his ethos and tactics in his book “Final Bow for Yellow Face: Dancing Between Intention and Impact.”As a director and choreographer, Phil has put his own stamp on once-problematic Orientalist standards. Last year, he directed “Madama Butterfly” at Boston Lyric Opera in a production that The Boston Globe called “an invigorating and meaningful reclamation of Puccini's beloved opera.” Earlier this year he co-choreographed with Doug Fullerton the ballet “La Bayadère” at Indiana University, maintaining Auguste Petipa's choreography but moving the setting from a 19th century India sprung from a European imagination to the homegrown American exoticism of 1920s Hollywood.In this interview, Phil describes how he developed the mission and methods of Final Bow for Yellowface and explains how reexamining the standard ballet repertoire through a multicultural contemporary lens honors and benefits the artform as a whole.https://www.yellowface.org/

Hi Dancers! I hope you enjoy this conversation with Anabel Katsnelson from American Ballet Theatre! I know that so many dancers experience injuries at one time or another and we both know how challenging the injury recovery process can be. In this video, Anabel shares how she addressed the mental, emotional, and practical challenges of the injury recovery process to come back stronger. Enjoy! Anabel's Bio: Anabel Katsnelson was born in New City, New York and began training at the Petrov Ballet Academy. In 2014, she performed with the Suzanne Farrell Ballet and in 2015 she joined Houston Ballet II. Katsnelson joined the American Ballet Theatre Studio Company in September 2016 and became a member of the corps de ballet in June 2017. Her repertoire includes a Shade in La Bayadère, Amour in Don Quixote, Canary fairy in Sleeping Beauty, Bomb Squad in ‘In the Upper Room', Chinese in Nutcracker, and pas de trois in Swan Lake. - Kirsten Watch this episode on youtube: https://youtu.be/Tdtptc3bvQE To learn more about my mindset coaching and speaking services, visit kirstenkemp.com To stay up to date on the latest announcements and blog posts at The Confident Dancer, sign up to be a part of my email newsletter community here: http://eepurl.com/gDmjtz To follow along for daily tips and behind-the-scenes looks at what I'm up to, follow me on Instagram at @kirsten_theconfidentdancer ________________________________________________________________________ WORK WITH ME 1:1! THE CONFIDENT DANCER COACHING PROGRAM: A 1:1 Coaching Program to help you do the inner work to step into a new level of confidence, well-being, and preparedness to accomplish your career goals. Perfect for pre-professional, professional, or recreational dancers wanting to master the mental side of optimum performance, so you can overcome the mental blocks that have been holding you back and be the confident dancer you've always wanted to be! Learn more and apply here: https://kirstenkemp.com/confident-dancer-coaching-program#confident-dancer ________________________________________________________________________ SPEAKING & WORKSHOPS: I offer mindset seminars to equip dancers with the inspiration and practical tools to thrive in their well-being and ability to perform their personal best. These 60-90 minute seminars can be a valuable addition to the holistic support and education of your dancers at your next intensive, year-round program, or professional development opportunity for your company dancers. Learn more and inquire here: https://kirstenkemp.com/speaking-and-workshops#speaking-and-workshops ________________________________________________________________________ ONLINE COURSES: My online course offerings are a wonderful way to learn the practical steps to retraining your mind so you can thrive and excel in your dancing, all at your own pace and for a more affordable price than individual coaching. Whether your goal is to break through fear and nervousness so you can show up confidently in your auditions or you want to release the self-criticism or self-doubt that's been draining all the joy out of dancing lately, The Confident Dancer Course and rotating mini-courses available are designed to help you do just that. Learn more and enroll here: https://kirstenkemp.com/online-course-offerings ________________________________________________________________________ DOWNLOAD MY FREE PDF GUIDE on "How To Find Your Unique Strengths as a Dancer": https://mailchi.mp/7e51450a0a3e/findyourstrengths DOWNLOAD MY FREE PDF GUIDE on "How to Break Through the Feeling of Not Being Good Enough": https://tinyurl.com/redefining-good-enough

Hi Dancers! I hope you enjoy this conversation with Anabel Katsnelson from American Ballet Theatre! I know that so many dancers dream of dancing for such a big and reputable classical ballet company, so I thought it would be wonderful to have Anabel on to talk about what it's actually like to dance for such a big company and to also share what advice she has for dancers who aspire to follow the same path. Enjoy! Anabel's Bio: Anabel Katsnelson was born in New City, New York and began training at the Petrov Ballet Academy. In 2014, she performed with the Suzanne Farrell Ballet and in 2015 she joined Houston Ballet II. Katsnelson joined the American Ballet Theatre Studio Company in September 2016 and became a member of the corps de ballet in June 2017. Her repertoire includes a Shade in La Bayadère, Amour in Don Quixote, Canary fairy in Sleeping Beauty, Bomb Squad in ‘In the Upper Room', Chinese in Nutcracker, and pas de trois in Swan Lake. - Kirsten Watch this on youtube: https://youtu.be/XUaDeD1RjCQ To learn more about my mindset coaching and speaking services, visit kirstenkemp.com To stay up to date on the latest announcements and blog posts at The Confident Dancer, sign up to be a part of my email newsletter community here: http://eepurl.com/gDmjtz To follow along for daily tips and behind-the-scenes looks at what I'm up to, follow me on Instagram at @kirsten_theconfidentdancer ________________________________________________________________________ WORK WITH ME 1:1! THE CONFIDENT DANCER COACHING PROGRAM: A 1:1 Coaching Program to help you do the inner work to step into a new level of confidence, well-being, and preparedness to accomplish your career goals. Perfect for pre-professional, professional, or recreational dancers wanting to master the mental side of optimum performance, so you can overcome the mental blocks that have been holding you back and be the confident dancer you've always wanted to be! Learn more and apply here: https://kirstenkemp.com/confident-dancer-coaching-program#confident-dancer ________________________________________________________________________ SPEAKING & WORKSHOPS: I offer mindset seminars to equip dancers with the inspiration and practical tools to thrive in their well-being and ability to perform their personal best. These 60-90 minute seminars can be a valuable addition to the holistic support and education of your dancers at your next intensive, year-round program, or professional development opportunity for your company dancers. Learn more and inquire here: https://kirstenkemp.com/speaking-and-workshops#speaking-and-workshops ________________________________________________________________________ ONLINE COURSES: My online course offerings are a wonderful way to learn the practical steps to retraining your mind so you can thrive and excel in your dancing, all at your own pace and for a more affordable price than individual coaching. Whether your goal is to break through fear and nervousness so you can show up confidently in your auditions or you want to release the self-criticism or self-doubt that's been draining all the joy out of dancing lately, The Confident Dancer Course and rotating mini-courses available are designed to help you do just that. Learn more and enroll here: https://kirstenkemp.com/online-course-offerings ________________________________________________________________________ DOWNLOAD MY FREE PDF GUIDE on "How To Find Your Unique Strengths as a Dancer": https://mailchi.mp/7e51450a0a3e/findyourstrengths DOWNLOAD MY FREE PDF GUIDE on "How to Break Through the Feeling of Not Being Good Enough": https://tinyurl.com/redefining-good-enough

Today on Conversations on Dance, we welcome back Phil Chan, author and co-founder of 'Final Bow for Yellowface.' Back in May of 2023 in episode 339, we had Phil on the podcast with Doug Fullington and Sarah Wroth to tell us about how the idea for 'Star on the rise : La Bayadère ... reimagined!' came about, and what made Indiana University a great place to mount this production. Now, following the premiere, Phil joins us again to tell us about the finished product and what the reactions have been.We are thrilled to share that 'Star on the rise' is now streaming on IU's website. Click here to watch now for free: https://media.dlib.indiana.edu/media_objects/gb19g015j/section/1g05g3541Episode 339 with Phil, Doug, and Sarah: https://www.conversationsondancepod.com/episodes-transcripts/339-la-bayadere Hosted on Acast. See acast.com/privacy for more information.

L'Info 7 és l'informatiu de Punt 7 Ràdio Sant Celoni. S'hi expliquen les notícies locals i es complementa amb l'agenda cultural del poble. Conductora: Gemma Pascual podcast recorded with enacast.com

What do we do when “the classics”—those canonical treasures that embody the rich traditions of our genres—start to feel outdated for today's audiences, or even at odds with our missions? In today's episode, we take a close look at celebrated works from the classical Western canon that include harmful portrayals of non-Western cultures, and hear how one artist is taking action to prune and preserve the art he loves. Artist and advocate Phil Chan shares how performing arts organizations can approach works from the classical Western canon with enhanced cultural sensitivity and authenticity. He offers tips and real-world examples for updating outdated representations of non-Western cultures while maintaining the integrity of these works. LINKS: Final Bow for Yellowface Gold Standard Arts Foundation Boston Lyric Opera | The Butterfly Process Dance Magazine | Indiana University Removes Offensive Caricatures in New Productions of The Nutcracker and La Bayadère

We sat down with Sarah Wroth, Chair of the Department of Ballet at Indiana University's Jacobs School of Music, to hear all about IU's ballet program. University ballet programs are becoming an ever more viable means to a professional ballet career and IU is a leader is turning out well-trained and mature, employable dancers. Tune in to hear about the myriad opportunities that exist for IU ballet students including a huge performance schedule, the chance to choreograph on other students and the ability to add a second emphasis of academic study. Be sure to also check out IU's collaboration with Phil Chan, co-founder of Final Bow For Yellowface as the school stages a completely reimagined version of Petitpa's classic yet problematic, La Bayadère. This newly staged version, renamed, Star on the Rise: La Bayadère ... Reimagined, is sure to get people talking! Performances take place March 29 and 30 are available to watch online for free. Links: Star on the Rise Live Stream IU Jacobs School of Music  Ballet Help Desk Submit Year-Round Reviews Support Ballet Help Desk Instagram: @BalletHelpDesk

Quinta puntata della seconda stagione, vi raccontiamo un balletto molto amato: La Bayadère!  Avremo anche il contributo del Lighting Designer del Teatro Alla Scala, Marco Filibeck.  Segui 2aTeatro la prima serie di podcast e vodcast sul mondo teatrale con puntate dedicate alla danza, all'opera, alla musica classica e al teatro. Un progetto inedito, dal taglio divulgativo e coinvolgente, ideato e condotto in studio da Tabata Caldironi e Anna Olkhovaya. Nuovi episodi disponibili il venerdì. Di puntata in puntata sarà possibile scoprire i balletti più iconici, le parole e i passi più famosi della danza con la Scuola di Ballo dell'Accademia Teatro alla Scala e le testimonianze di protagonisti di fama internazionale. Il progetto è reso possibile grazie alla collaborazione con A2A, Fondazione AEM e Banco dell'energia.

This week on Finding Your Bliss, we have our annual holiday special! Life Coach and Bliss Expert Judy Librach is joined by Prima Ballerina Heather Ogden (The National Ballet of Canada) and our very own film critic, Thom Ernst!

Today on Conversations on Dance we are happy to bring you a panel discussion on a very special project: the reimagining of La Bayadère. Joining us are Phil Chan, of Final Bow for Yellowface, Doug Fullington, dance historian and musicologist, and Sarah Wroth, Associate Professor and Chair at Jacobs School of Music at Indiana University. The trio talk with us about the idea to reexamine La Bayadère for a 21st century audience, how they are transforming the ballet while preserving it's history, and Indiana University's important role in it's creation.THIS EPISODE'S SPONSORS:Ballet Bird is a streaming site designed by former Pacific Northwest Ballet principal dancer Julie Tobiason. Ballet Bird offers ballet classes for anyone at any level of training that you can do from the comfort of your home or studio. Ballet Bird is a great addition to your regular in-studio training too. Take advantage of the ten day free trial and use the discount code COD25 to get 25% off through June 30th 2023 at balletbird.com.After a nearly-decade-long hiatus from live performance, ChrisMastersDance returns with Mausoleum, at Brooklyn Academy of Music's Fishman Space, June 2nd to 4th. Reckoning with the dance field's history of systematic exploitation, ChrisMastersDance is building a Mausoleum — a place to acknowledge and remember a past that has been laid to rest —making way for a tomorrow that sets aside unsustainable forms of life and work. Don't miss Mausoleum at BAM this is June 2- 4. Tickets are available at bam.org/Mausoleum or click the link in the show notes.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.

Anne Grosvold i samtale med ballettsjef Ingrid Lorentzen, koreograf og danser Sudesh Adhana, kritiker, aktivist og danser Grace Tabea Tenga, Inna Sangadzhieva fra Helsingforskomiteen, og solist Melissa Hough.

Her kan du høre tidligere ballettdanser Lene Skalleberg fortelle om det klassiske ballettverket om tempeldanseren Nikiya.

La Bayadère est créée en 1877 au Théâtre impérial de Saint Pétersbourg. La chorégraphie est signée Marius Petipa, sur une musique de Ludwig Minkus. Mais pourquoi ce ballet a-t-il tant marqué Rudolf Noureev, tout jeune soliste du Ballet du Mariinsky ?

Movementtalks had the chance to be in conversation with Cullberg managing director Stina Dahlström and choreographer Jérôme Bel. Here they share their opinion and goals concerning the emission of CO2 in the atmosphere and the contemporary world of performance. Stina Dahlström was born in 1982 in Kiruna. She has an education in literature, dance, theatre, economics and project management at the University of Stockholm. Stina Dahlström has worked as a freelance producer, and as head of production at MDT, an international co-producing and presenting plattform for contemporary dance in Stockholm. As of 2016, Stina Dahlström is managing director of Cullberg, the national and international repertoire contemporary dance company in Sweden. Jérôme Bel lives in Paris and works worldwide. nom donné par l'auteur (1994) is a choreography of objects. Jérôme Bel (1995) is based on the total nudity of the performers. Shirtology (1997) presents an actor wearing many T-shirts. The last performance (1998) quotes a solo by the choreographer Susanne Linke, as well as Hamlet and André Agassi. Xavier Le Roy (2000) was claimed by Jérôme Bel as his own, but was actually choreographed by Xavier Le Roy. The show must go on (2001) brings toghether twenty performers, nineteen pop songs and one DJ. Véronique Doisneau (2004) is a solo on the work of the dancer Véronique Doisneau, from the Paris Opera. Isabel Torres (2005), for the ballet of the Teatro Municipal of Rio de Janeiro, is its Brazilian version. Pichet Klunchun and myself (2005) was created in Bangkok with the Thai traditional dancer Pichet Klunchun. Follows Cédric Andrieux (2009), dancer of Merce Cunningham. 3Abschied (2010) is a collaboration between Anne Teresa De Keersmaeker and Jérôme Bel based on The Song of the Earth by Gustav Malher. Disabled Theater (2012) is a piece with a Zurich-based company, Theater Hora, consisting of professional actors with learning disabilities. Cour d'honneur (2013) stages fourteen spectators of the Cour d'honneur of the Palais des Papes in Avignon. In Gala (2015), the choreographer stages together professional people from the dance field and amateurs coming from different backgrounds. In Tombe (2016), performance created at the invitation of Opéra National de Paris, Jérôme Bel proposed to some dancers of the ballet to invite, for a duet, the person with who they would never share the stage. Posé arabesque, temps lié en arrière, marche, marche (2017) is a piece for all the dancers of the Ballet de l'Opéra de Lyon based on the famous “Entrance of the shadows” of the ballet La Bayadère. Dancing as if nobody is watching (2018) and the reading of the Lecture on nothing by John Cage call for a contemplative aesthetic attitude. With Retrospective, Jérôme Bel goes back through his video archives and makes a cross section within his corpus, to better bring out the linkage between dance and politics. Isadora Duncan (2019) paints a picture of this choreographer. In 2013 Emails 2009-2010, written with the French choreographer Boris Charmatz, is edited (Les Presses du Réel). This book is published on line and in English, still by Les Presses du Réel, in 2016. This interview was recorded with no CO2 emission. Interviewees: Stina Dahlström and Jérôme Bel Concept: Giacomo Della Marina Camera: Erica Espling and Oskar Hökerberg (Stina Dahlström) Show less

Cynthia Harvey is the guest on Episode 6, Season 2 of A Body's Language.Cynthia Harvey's style marked her as one of the most versatile and valued artists. Harvey danced nearly every ballerina role with American Ballet Theatre and had the distinction of being invited by Sir Anthony Dowell to be a principal ballerina of The Royal Ballet-the first American dancer to have that honor. Harvey performed as guest artist with Baryshnikov and Company, Nureyev and Friends and numerous internationally renowned ballet companies around the world before retiring from the stage in 1996.On video, Harvey appears as Kitri opposite Mikhail Baryshnikov in his production of Don Quixote, in a variation from Paquita in Natalia Makarova's The Ballerina and the “Waltz” variation in Les Sylphides, a variation from Paquita (American Ballet Theatre dances Petipa)and, in the documentary, Tchaikovsky's Women for Britain's Channel 4.  She is a featured artist in the Fred Weisman's documentary Ballet and Darcey Bussell's Ballerina Heroines, featured on the BBC.Co-author of Physics of Dance & the Pas de Deux, Harvey has been guest teacher for The Norwegian National Ballet Company, where beyond teaching and coaching, she helped re-stage a production of The Sleeping Beauty in 2008 and staged her own complete production of the ballet Giselle in 2009.In October 2010, the premiere of her full-length production of The Sleeping Beauty for The Hong Kong Ballet was met with acclaim. She staged the Shades section from La Bayadère for The Royal Ballet of Flanders, and in December 2014, her production of Don Quixote, for Singapore Dance Theatre, was said by Dance Europe to be one of the best premieres of the year worldwide.As a guest teacher and ballet mistress, Harvey has taught for American Ballet Theatre, The Australian Ballet, Teatro alla Scala in Milan, The Royal Swedish Ballet and The Zürich Ballet, and she is a regular guest ballet mistress at the Semperöper Ballett, Dresden. She has also taught regularly at The Royal Ballet School in London, as well as the School for the Basel Ballet, San Francisco Ballet School and as Principal Guest teacher for the English National Ballet School.As a sought after teacher and jury member, Harvey has appeared at several competitions, including the Rosetta Mauri, The Tanzolymp, the First International Competition in Sitges, Spain, and in 2013,  for Dance World Cup Spain.  Harvey is a long time attendee of he Prix de Lausanne, where she has taught, served as jury president and in 2016 will be the coach for the ladies.Harvey has been on the board of DanceEast, the National Agency for Dance in England and was a prominent member of the committee that saw major ballet directors and ballet school directors from around the world gather to discuss issues relating to improving life for ballet companies and schools. She was standards assessor for The Council for Dance Education and Training in the U.K. until 2010.  She is a member of the International Council of Dance. In early 2014, Miss Harvey formed “En Avant Foundation”, a non-profit foundation for mentoring and coaching ballet for prodigious young dancers.

Anna Rose O’Sullivan was born in Harrow and began dancing aged two, training locally at Suzanne's School of Dance before joining The Royal Ballet School, White Lodge. Early performances included the lead role of Sara Crewe in A Little Princess for London Children’s Ballet and Cosette (Les Misérables) and in Chitty Chitty Bang Bang on the West End. Roles at the School included creating a Principal role in Alastair Marriott’s Simple Symphony, pas de deux (Don Quixote) at La Fenice, Venice, and pas de deux (Rhapsody) at Buckingham Palace. Awards include the April Olrich Award for Dynamic Performance and the Phyllis Bedells Bursary (Royal Academy of Dance). In 2010 she reached the finals in the Genée International Ballet Competition and in 2011 won The Royal Ballet School Achievement Award, the Director’s Prize for most promising student and Young British Dancer of the Year. O’Sullivan’s roles with the Company have included Princess Aurora (The Sleeping Beauty) , Juliet ( Romeo and Juliet) recently nominated for ‘Outstanding Female Classical Performance’ for her portrayal in The Critics circle National Dance Awards , Alice (Alice's Adventures in Wonderland), Swanilda (Coppélia), Olga (Onegin) ,1st Movement (Concerto), Dorabella (Enigma Variations), Clara (The Nutcracker), Amour (Don Quixote), pas de six and Moyna (Giselle), Princess Florine, Florestan’s Sister, Fairy of the Golden Vine, Fairy of the Song Bird and White Cat (The Sleeping Beauty), Neapolitan, Cygnet and pas de trois (Swan Lake), Princess Louise and Princess Stephanie (Mayerling), Vera (Month in the Country), Florence Billington (The Unknown Soldier), Blue Girl (Les Patineurs), Symphony in C, 4th Movement and roles in Infra, ‘Emeralds’ (Jewels), After the Rain, Carbon Life, Within the Golden Hour, La Bayadère, Tchaikovsky Pas de deux and Tarantella. She created roles in Multiverse, Woolf Works. IG: @annaroseosullivan Host: Jamie Neale @jamienealejn Discussing rituals and habitual patterns in personal and work life. We ask questions about how to become more aware of one self and the world around us, how do we become 360 with ourselves? Host Instagram: @jamienealejn Podcast Instagram: @360_yourself Music from Electric Fruit Produced by Tom Dalby Composed by Toby Wright

Ils sont l'exception de la règle : 5 danseuses et danseurs noirs ou métis parmi les plus de 150 membres du Ballet à l’Opéra de Paris. À travers un manifeste, qui implique également deux barytons africains des chœurs, ces artistes ont soulevé le débat sur la diversité et les discriminations raciales au sein de l'institution tricentenaire. Un débat qui fait des vagues depuis l'été dernier. Le directeur de L’Opéra Alexander Neef a lui-même commandé un rapport sur la diversité au sein de l’institution qui devrait lui être remis avant d’être publié. « Dans la tête de beaucoup de gens, pour entrer à l'Opéra de Paris, il faut être blanc. » Guillaume Diop, 20 ans, est l'un des rares danseurs métis qui ont réussi à entrer dans le corps de ballet de cette institution vieille de 350 ans. Né à Paris, d'un père sénégalais et d'une mère française, ce jeune passionné de danse classique s'est heurté aux obstacles dès son plus jeune âge, en commençant par son père qui aurait préféré le foot pour son fils. « C’était un peu compliqué côté sénégalais de comprendre qu’un garçon fasse de la danse. Et après, c'est plus à l’école de danse des petites remarques d’autres élèves que je ne pourrais pas rentrer à l’Opéra parce que j’étais métis, des réflexions comme ça. » « Elle est noire » Une expérience partagée par Letizia Galloni, fille d’un couple italo-congolais : « Quand on est petit, on ne se rend pas forcément compte et ça nous passe un peu au-dessus, mais c’est vrai que je devais avoir l’âge de 10 ans quand j’avais entendu une copine dire : Letitzia, elle ne pourra pas entrer dans le ballet parce qu’elle est noire. » Aujourd'hui, Letizia Galloni a grimpé les échelons dans la hiérarchie du ballet pour arriver, à 29 ans, à un grade intermédiaire dans une compagnie qui n'a encore jamais eu d'étoile noire. « Il y a des gens qui ont des clichés que les Noirs sont peut-être trop musclés ou ont les pieds plats. Et c'est très réducteur d'avoir ce genre de propos. » La passion de danser et la société « La danse, ce n’est pas un art qui est réservé à une couleur de peau, remarque Guillaume Diop. C’est une question de talent, de capacité, de la passion de danser et qu’on soit bien ensemble, que les lignes soient tenues, mais je ne vois pas en quoi avoir des personnes non blanches dans le corps de ballet, ça casserait vraiment l’homogénéité. » « Et là, on est quand même en 2021, souligne Letizia Galloni. C’est une grande institution et il faut que ça représente aussi la société. » « La danse des négrillons » Dans le sillage du mouvement Black Lives Matter né aux États-Unis, cette nouvelle génération de danseurs parisiens décide de rédiger un manifeste pour interroger les stéréotypes d'un « ballet blanc ». Ils dénoncent les pratiques comme le « blackface », le grimage en noir, les costumes et maquillages non adaptés à leur couleur de peau comme les collants roses qui rendent leurs jambes grises. Ils évoquent les discriminations au casting, les appellations historiques impliquant le mot « nègre » dans des œuvres héritées de l'époque coloniale comme La Bayadère et sa « danse des négrillons », sans pour autant vouloir mettre les classiques au placard. « Construire quelque chose de bien » « On ne veut pas être dans la précipitation de tout retourner tout de suite, pas du tout, affirme Guillaume Diop. On est dans le dialogue pour construire quelque chose de bien et d'équitable pour tout le monde. » La direction de l'Opéra de Paris a pris le relais avec une consultation inédite dans le but d'inciter à la réflexion et de faire changer les mentalités pour qu'un jour, être noir et danseuse ou danseur classique ne soit plus un paradoxe.

durée : 00:32:36 - Boomerang - par : Augustin Trapenard - Le 13 décembre dernier, à l’issue d’une représentation à huis-clos de "La Bayadère" à l’Opéra Bastille, il a été nommé danseur étoile ! À l’heure où l’opéra broie du noir, il est venu nous insuffler un peu d’espoir. Paul Marque est l'invité d'Augustin Trapenard.

In this episode of MOVERS SHAKERS MAKERS mini-series, Ballet for the Twenty-first Century, Emma Lister and guest Phil Chan discuss his first book Final Bow for Yellowface: Dancing Between Intention and Impact, and his upcoming work, Shades of the Orient, in which Chan supports his claim that Orientalism is one of the major pillars of classical ballet. He puts forward some constructive solutions on how to stage problematic works (La Bayadère set in 1930's Hollywood anyone?!) and discusses the impact that recent social justice movements have had on ballet companies.Chan is cofounder of Final Bow for Yellowface, a pledge to eradicate outdated portrayals of Asians on stages the world over. To date, almost every major American ballet company has signed this pledge, and several international companies as well.Final Bow for Yellowface Website:www.yellowface.orgFollow them on Instagram: @finalbowforyellowfaceTHIS EPISODE HAS BEEN AUDIO TRANSCRIBED.This mini-series has been made possible by a grant using public funding by the National Lottery through Arts Council England.

Links referenced in/relevant to this episode:-Dancers of New York City Ballet relief fund: https://www.dancersofnycb.com/-Houston Ballet's Breaking Boundaries series: https://www.houstonballet.org/explore/breaking-boundaries/-New York Times profile of Camille A. Brown's virtual school: https://www.nytimes.com/2020/09/02/arts/dance/camille-a-brown-pandemic-every-body-move.html-Camille A. Brown's Instagram page: https://www.instagram.com/camilleabrown/-Los Angeles Times story on the city's dance studio crisis: https://www.latimes.com/entertainment-arts/story/2020-09-02/la-dance-studio-classes-covid-closures-Pointe's piece on "La Bayadère" stereotypes: https://www.pointemagazine.com/la-bayadere-orientalist-stereotypes-2646384245.html-Nel Shelby's website: https://www.nelshelby.com/-Table of Silence Project 9/11 information: https://www.tableofsilence.org/

Hør Gabrielle Tillson fortelle om dette storslagne, klassiske ballettverket – som nå vises for første gang i Norge!

On this first episode of a brand-new season of the podcast, we dive into the world of performing arts - here in the City of the Arts - with Jason Holland, VP of Community Engagement at Segerstrom Center for the Arts. Learn all about the upcoming theater season and more FREE, local events you can enjoy on the Argyros Plaza, here in Costa Mesa. Listen in, then check out all the fun stuff happening over at SCFTA this Fall! Connect with Segerstrom Center for the Arts: Online: https://www.scfta.org/ Instagram: @segerstromarts Facebook: https://www.facebook.com/SCFTA/ Twitter: @segerstromarts On This Episode, We Discuss: OC Press Club: http://www.orangecountypressclub.com/ Triangle Square: https://www.go2triangle.com/ Orange Coast College: http://www.orangecoastcollege.edu Concerts In The Park: https://www.costamesafoundation.org/concerts South Coast Repertory: https://www.scr.org/ Argyros Plaza: https://www.scfta.org/Events/Plaza-Events-List.aspx Lions Fish Fry: https://cmnh-lions.com/fish-fry/bands-2019/ National Dance Day: https://www.scfta.org/events/2019/national-dance-day-free El Grito: https://www.scfta.org/events/2019/el-grito-free Group Pricing (10 or more): https://scfta.org/See-a-Show/Group-Services.aspx All Abilities Celebration: https://scfta.org/events/2018/all-abilities-celebration-free  La Bayadère: https://www.scfta.org/events/2019/mariinsky-ballet Miss Saigon: https://www.scfta.org/events/2019/miss-saigon Anastasia: https://www.scfta.org/events/2019/anastasia The Crack Shack: https://www.crackshack.com/location/costa-mesa/ Lions Park: https://www.travelcostamesa.com/play/recreation/parks/lions-park/ Fairview Park: https://www.travelcostamesa.com/play/recreation/parks/fairview-park/ OC Fair: https://ocfair.com/ Costa Mesa Chamber of Commerce: http://www.costamesachamber.com/ Thank You To Our Wonderful Podcast Sponsors: Music Factory School of Music Orange Coast College Triangle Square Please tell your friends about the podcast – and don't forget to leave your rating and review wherever you listen! Find Us On… Facebook: www.facebook.com/iheartcostamesa/ Join the Facebook Group: https://www.facebook.com/groups/iheartcostamesa/ Instagram: @iheartcostamesa Twitter: @iheartcostamesa Shop the store! https://www.iheartcostamesa.com/shop/ Big thanks to everyone who helped make this podcast possible! Producer: Danny Thompson (danny@themusicfactoryoc.com) Intro / Outro Voiceover: Brian Kazarian Music: Eddie “DJ Kaboom” Iniestra  

Anastacia Holden joined The Joffrey Ballet in 2005 following two seasons as an Arpino Apprentice. Born and raised in Ann Arbor, Michigan, Ms. Holden was first interested in international folk dance and started ballet at the local YMCA at the age of seven. She began serious study with Judy Rice at the University of Michigan and later continued her training under Prima Ballerina Maniya Barredo in Alpharetta, GA. Since joining the Joffrey, Ms. Holden has enjoyed performing in many ballets including: Cinderella (Spring Fairy); Cloven Kingdom; Don Quixote (Amore); Giselle (Peasant Pas de Deux);The Green Table (the Young Girl); Infra; In the Middle, Somewhat Elevated; La Bayadère (Gamzatti); Maninyas (first Pas de Deux); Night; The Nutcracker (Sugar Plum, Clara); Othello (Bianca); "...smile with my heart;" Swan Lake (Cygnets, Pas de Trois); Tarantella; and Viva Vivaldi. She has originated roles in works by Nicolas Blanc, Donald Byrd, Val Caniparoli, James Kudelka, Jessica Lang, Edwaard Liang, and Stanton Welch, and she has been honored to dance in numerous works by Joffrey co-founders Robert Joffrey and Gerald Arpino. In 2010, Ms. Holden co-founded the non-profit Embarc, a three-year program that provides community-driven, experienced-based learning opportunities to low-income high school students to inspire and prepare them for college and career success. Her other interests include reading, travelling, cooking and crochet. @anastaciaholden www.embarcchicago.org --- Send in a voice message: https://anchor.fm/didyoumovetodayco/message Support this podcast: https://anchor.fm/didyoumovetodayco/support

Teaser of Episode #13 of Offstage + Unbound - The Music Center Podcast. Kevin McKenzie, Artistic Director of American Ballet Theatre Rachel Moore, President & C.E.O. of The Music Center

Welcome to Live From The Kennedy Center: Mariinsky Ballet Director Yuri Fateev and Dancer Timur Askerov.  A few weeks ago we were in Washington, DC to cover a busy weekend of ballet at the Kennedy Center.  While we were there, the Mariinsky Ballet was in town performing La Bayadère.  We had the pleasure of sitting […] The post (68) Live From The Kennedy Center: Mariinsky Ballet Director Yuri Fateev and Dancer Timur Askerov appeared first on tendusunderapalmtree.com.

Welcome to Live From The Kennedy Center: Mariinsky Ballet Director Yuri Fateev and Dancer Timur Askerov.  A few weeks ago we were in Washington, DC to cover a busy weekend of ballet at the Kennedy Center.  While we were there, the Mariinsky Ballet was in town performing La Bayadère.  We had the pleasure of sitting […] The post (68) Live From The Kennedy Center: Mariinsky Ballet Director Yuri Fateev and Dancer Timur Askerov appeared first on tendusunderapalmtree.com.

Ballet Master Katita Waldo described the preparation of The Kingdom of the Shades from La Bayadère, Act II, and in […]

Monica Mason, Director of The Royal Ballet and Tamara Rojo, Principal dancer talk about the history and story of La Bayadère.

Monica Mason, Director of the Royal Ballet and Tamara Rojo, Principal dancer talk about the history and story of La Bayadère.

Particularly suitable for Key Stage 3 offering an introduction to the characters, music and story of the ballet.

Particularly suitable for Key Stage 3 offering an introduction to the characters, music and story of the ballet.