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Monday, August 31, 2009
Doug Post: keeping track of it all
As we eagerly--perhaps anxiously--await the onset of another New York City dance season, here's a reminder about DJP Artist Services Newsletter. Edited by Doug Post, this emailed weekly newsletter is a good way to keep on top of basic information and resources--listings of performances, rehearsal and performance space rentals, grant opportunities, auditions, job openings, housing and more.
To get on Doug's mailing list or to send a listing, write to dougjp55@yahoo.com.
Thursday, August 27, 2009
Open letter from Collective Arts Think Tank
Collective Arts Think Tank: First Letter to the Field: What's working, what's not working, recommendations
an open letter to the field
Jennifer Wright Cook, The Field
Vallejo Gantner, Performance Space 122
Aaron Landsman, Thinaar and Elevator Repair Service
Sheila Lewandowski, The Chocolate Factory
Carla Peterson, Dance Theater Workshop
Brian Rogers, The Chocolate Factory
Morgan von Prelle Pecelli, The Lost Notebook and Performance Space 122
Songwriter Ellie Greenwich, 68
Ellie Greenwich, a Writer of ‘Leader of the Pack,’ Dies at 68
by Bruce Weber, The New York Times, August 26, 2009
Wednesday, August 26, 2009
Noworol's Fringe element
Patricia Noworol's fascinating Circuits feels "but-kitchen-sinky"--as in, everything but the kitchen sink--and sprawly and elusive but, even so, unusually tidy. How's that possible? I have no idea, but there it is.
This hour-long Fringe Festival piece begins even as the audience assembles and settles in, and then it appears to restart a few times--or Noworol's words suggest that it's restarting--as the choreographer gives an order to her sound person and, for our benefit, reiterates that Circuits was "miraculously created" in just two months, collaboratively, with improvisation. But if that feels as if she's toggling rewind/forward, that toggling also feels curiously smooth and expertly controlled.
The work goes on to amalgamate a load of ideas and encounters and impulses, and it puts potentially-charged emotional experiences on display in the form of challenges (the excruciating "Take your top off, Chelsea" sequence), personal narrative (Nick's first job in a zoo and a memory of his favorite charge, the emus) and physical gutsiness (including a lot of people repeatedly throwing themselves at one another). But it's all executed by Noworol's performers with a cool, fairly uniform affect that's kind of unsettling because, under their deceptively serene surface, there's just so, so much.
Ultimately, it might be hard to put your finger on whatall's going on, overall, in Circuit. But that's probably Noworol's way: to get the viewer to plunge in anywhere, look around, maybe take a sharp interest in one thing or another and see where that leads. Every viewer can resurface with something different and interesting. Her well-coordinated team of dancers makes it rewarding: Chelsea Bonosky, Nicholas Bruder, Matthew Oaks, Christina Noel Reaves, Elliott Reiland, Mika Yanaghira and the gazelle-like choreographer herself.
Circuits continues tonight at 8pm, Friday at 7:45pm and Sunday at 1:45pm at the Robert Moss Theatre, 440 Studios, 440 Lafayette Street, 3rd Floor, Manhattan. For reservations (strongly recommended), call 866-468-7619.
Patricia Noworol Dance Company
New York International Fringe Festival
Tuesday, August 25, 2009
Philly ICA to present "Dance with Camera"
Spanning 70 years of art and film, including photos, video and Hollywood musicals, Dance with Camera explores the crossover between artists and dancers who choreograph for the camera instead of merely using it as a documentary device. Participants include Eleanor Antin, Charles Atlas, Bruce Connor, Tacita Dean, Maya Deren, Oliver Herring, Bruce Naumann and Yvonne Rainer.
The exhibition will be on view at Philadelphia Institute of Contemporary Art, University of Pennsylvania--September 10, 2009 to March 21, 2010--and is expected to travel.
--from Art in America, Annual Guide 2009-2010
Complete program and visiting information
Eat, dance and be merry!
The French Institute Alliance Française (FIAF) and the Baryshnikov Arts Center (BAC) invite you to two full days of complimentary dancing, workshops, and cutting-edge cuisine.
Friday, September 11:
10am–12pm: Workshop with French choreographer Pierre Rigal
1–6pm: Dance Class with Odile Duboc, Latifa Laâbissi, Olivier Dubois, and Germaine Acogny (represented by Nora Chipaumire)
Baryshnikov Arts Center, Studio 6A
450 West 37th Street (between 9th and 10th Avenues), Manhattan
Saturday, September 12:
1–6pm: Le Bal NYC
Central Park, East Meadow
Entrance on Fifth Ave and 99th Street, Manhattan
Kindly RSVP by calling 646-731-3206 before Wednesday, September 2.
Program
On Friday, September 11, attend a workshop with world-renowned choreographer Pierre Rigal at Baryshnikov Arts Center, followed by a fun and invigorating class with four of France’s most respected choreographers: Odile Duboc, Latifa Laâbissi, Olivier Dubois, and Germaine Acogny (represented by Nora Chipaumire). Each choreographer will teach brand new dances created especially for Le Bal NYC, the free public dance party/picnic in Central Park that will launch FIAF’s Crossing the Line festival the next day.
Then, on Saturday, September 12 you’ll attend Le Bal NYC and assist the choreographers in teaching the dances you’ve just learned to the crowd in the Park—all while sampling snacks created by some of the hottest chefs in France and NYC!
What is Le Bal NYC?
A fresh new take on some classic French traditions, the “bal populaire” and the “pique-nique” are reinvented as Crossing the Line is launched on the East Meadow in Central Park. French choreographers Odile Duboc, Latifa Laâbissi, Olivier Dubois, and Germaine Acogny have specially created short new dances to be taught section by section to the public. As both audience and performers of the new work, participants get an insider’s look into the mechanics of contemporary choreography as well as the creative imagination of dance personalities. To sate the appetite of all these dancing feet, the Omnivore “brigade” will be creating special Crossing the Line Bento Boxes—a unique vision of the picnic with different elements created by innovative master chefs Inaki Aizpitarte, Alexandre Gauthier, Pascal Barbot, and Michel Bras from France, as well as New York’s David Chang and Wylie Dufresne.
Dancers of all ages are invited to participate in Le Bal NYC, a unique celebration set to take place in East Meadow, Central Park on Saturday, September 12, 2009.
Le Bal NYC
What is Crossing the Line?
Crossing the Line is FIAF’s annual fall festival, conceived as a platform to present vibrant new works by a diverse range of transdisciplinary artists working in France and New York City. Initiated, conceived, and produced by FIAF (the French Institute Alliance Française) in partnership with leading New York cultural institutions, the third annual edition of this inter-disciplinary contemporary arts festival further develops its focus on artists who are transforming cultural practices on both sides of the Atlantic. Over three intensive weeks this fall—whether by performing shopping, watching sounds, composing films, or reading movements—audiences will join in exploring and tasting a unique collection of outstanding new works and experiences, and discovering new revelations from each of these extraordinary artists.
Crossing the Line
French Institute Alliance Française
22 East 60th Street, between Park and Madison Avenues, Manhattan
Jane Goldberg remembers Ernest "Brownie" Brown
Tap dancer/journalist Jane Goldberg, author of Shoot Me While I'm Happy, sent me the following statement in memory of her colleague, the late Ernest Brown:
Brownie was Cookie's partner in the renowned comedy/dance act Cook and Brown. I was truly amazed when I first saw their act at a making of the video Great Feats of Feet by Brenda Bufalino and Dorothy Wasserman in a New Paltz theater. I just loved it and fell in love with their timing and humor. I loved Brownie's presence on stage and I especially loved swing dancing with him on the floors. That guy could really swing. And lead well too. He might have been Cook's whipping post in their knock-about comedy, but he was the best swing dancer around. He was the last of the remaining living Copasetics.
Video for the Arts meetup
Announcing a new Meetup for Arts, Culture and Technology!
Video for the Arts
September 17 (7 PM)
Admission: $5
at 3 Legged Dog, 80 Greenwich Street, Manhattan (212-645-0374)
Video is one of the most powerful communication tools we have at the moment--both online and off. Did you know YouTube is the second largest search engine in the world right now? That's crazy.
In this meetup session we'll take a look at how cultural organizations can utilize video to connect with audiences, as well as some of the tools and best practices to help them do so.
The speakers are as follows:
Art21 -- Jonathan Munar is the Web Manager at Art21—a non-profit arts organization and producer of a Peabody Award-winning PBS series on contemporary art—where he manages the Art21 Web sites, edits a column on the Art21 blog, and oversees the organization's social media initiatives. Before joining Art21 in 2008, Jonathan was the Website Technology Manager at the Metropolitan Museum of Art in New York.
Tendu.TV -- Marc Kirschner is the founder and General Manager of TenduTV, a broadband network delivering dance and dance-related programming to home users on their computers, mobile devices and reaches over 30 million televisions in the US. Kirschner created the concept of digital licensing for choreography and executed the first such licensing deals in the dance industry. Kirschner was recently invited to sit on the advisory board of Dance/NYC, where he will serve as chair of the technology committee.
Arin Crumley -- Putting real life into film, podcasting to extend the narrative, captivating social network audiences, Google mapping the audience demand for a theatrical release and digitally distributing to millions of internet viewers around the world. The pioneering efforts of Arin Crumley haven’t gone unnoticed as Indiewire, MovieMaker, The Wall Street Journal, The Spirit Awards, The Sundance Channel, IFC TV, & many others have jumped into the echo chamber further demonstrating all that new media has to offer.
Blip.tv -- Eric Mortensen joined blip.tv in 2006 as the Director of Content Development, where he oversees discovery of and interaction with new media content creators. As a founder of the pioneering social bookmarking site, linkfilter.net, a prolific blogger and the co-founder of Digital Dissonance — a digital music collaboration created in 1994 and pre-dating the commercial Internet — Mortensen has spent more than fourteen years as a social media innovator and expert.
And possibly one more to be added...
Presentations will begin promptly at 7:15, so please arrive on time. There will be a complimentary wine cocktail hour after the presentations, so be sure to stick around and socialize!
Learn more here.
Ernest Brown, Copasetics star, 93
Ernest Brown, Last Member of the Original Tapping Copasetics, Dies at 93
by Jennifer Dunning, The New York Times, August 25, 2009
Monday, August 24, 2009
The buzz about Julia Oldham
Hearty thanks to my friend Gerry Gomez Pearlberg of the Global Swarming Honeybees blog for introducing me to the work of Brooklyn-based video artist Julia Oldham whose "playful anthromorphization" of invertebrates seems to me to have produced some mighty fresh dance. Check out Oldham's videos and drawings here, and also visit her blog, Bee Sting Brose.
A few excerpts from Oldham's Artist's Statement:
I always have been a lover of bugs. My earliest memories are of exploring the woods, overturning rocks to find worms, grubs, and slugs.
I create narratives through movement during my performance, and in the editing process punctuate those movements with sound. The translation from English to Insect always undermines and shifts the story I wish to tell, and illustrates the awkward and tenuous relationship between artist and nature.
My work...is a meditation on the fantasy that humans and invertebrates have a shared set of experiences, accessible through rhythms, patterns, gestures and a relationship with the environment.
Ballerina. You might have seen her...
Black market
by Dorothy Snarker, Dorothy Surrenders, August 24, 2009
Black Swan
by Carson Reeves, ScriptShadow, August 19, 2009
Sunday, August 23, 2009
NYPL on Diaghilev's innovations
Admiring Serge Diaghilev, the Man Who Made Ballet Modern
by Julie Bloom, The New York Times, August 23, 2009
Patti Smith salutes photographer Robert Frank
Patti Smith: A Salute to Robert Frank, Artist and Friend
Patti Smith, Jesse Smith and guests
Saturday, October 17 -- 7pm
Metropolitan Museum of Art (Grace Rainey Rogers Auditorium)
I keep trying to figure out what it means to be American. When I look in myself I see Abyssinia, nineteenth-century France, but I can’t recognize what makes me American. I think about Robert Frank’s photographs—broke down jukeboxes in Gallup, New Mexico, swaying hips and spurs, ponytails and syphilitic cowpokes, hash slingers, the glowing black tarp of US 285 and the Hoboken stars and stripes.
I think about a red, white and blue rag
I wrap around my head.
Maybe it’s nothing material; maybe it’s just being free.
the right to write the wrong words.
And I done plenty of that...
notebook, April 1971
Tickets ($40) by phone only: 212-570-3949
Met Museum exhibition: Looking In: Robert Frank's The Americans (September 22, 2009 to January 3, 2010)
October 4 events related to this exhibition
Mr. Bojangles
When Bojangles Came to the Defense of the Yankees
by Ray Robinson, The New York Times, August 23, 2009
Saturday, August 22, 2009
At the Fringe, I see dead people
Yes. A handful of them. Dancing in Ectospasms, written and directed by Jessica Bonenfant and Edmund B. Lingan of Lola Lola Dance Theatre, which should not to be confused with LuLu LoLo from one of the other Fringe Fest shows I've recently seen. But like LuLu LoLo, Bonenfant and Lingan take their inspiration from women's history. In this case, the history concerns the 1848 birth of the American Spiritualist movement in Hydesville, NY, a town where, we're told--via words projected on a hanging bed sheet--"entertainment is not plentiful."
This relatively brief, impressionistic piece introduces us to Hydesville's infamous Fox sisters and their increasingly volatile and suspect spirit rapping (not what that sounds like) and an unidentified medium who summons various spirits out of a cabinet and exudes or regurgitates endless lengths of white, ectoplasmic-like fabric.
Spiritualism's rise converged with other interesting movements--women's suffrage, abolitionism and temperance--and was stoked, during the Civil War years, by widespread loss and grief. Ectospasm's characters--lightly touched upon and presented, without dialogue, in uninspired modern dance movement--might be worthy of more interesting choreographic design as well as a connection to this rich historical context.
Ectospasms runs again this evening at 7:30pm and has its final performance tomorrow evening, Sunday, at 9:30pm at the Robert Moss Theater at 440 Lafayette Street, 3rd Floor.
Complete New York International Fringe Festival information
Friday, August 21, 2009
Tagaq rocks
Tanya Tagaq is an Inuit born in Nunavat, the extreme Northern Canadian territory she describes as "little islands at the top of the map." She is also one of the most famous throat singers in the world, having collaborated with Björk and the Kronos Quartet. Barefoot, bare-shouldered, and barely wearing a black satin dress that looked like huge interlocking fish scales, this sassy ocean goddess of formidable weather and her accompanying musicians performed for one hour, last evening, at the National Museum of the American Indian's Diker Pavilion--a space the oft-controversial singer, loathe to censor herself, could not resist calling "sterile." She also opined--twice--that New York's current muggy heatwave was hateful, and I really can't disagree with either argument.
Now, one hour doesn't sound like much, but that's only if you don't yet know about Tagaq and were not among the lucky crowd. One hour, in this case, represented two songs. Yeah, I know...but they were lavish, mind-blowing songs, more like sonic shamanic journeys as led by an Inuit Diamanda Galas. Are you scared yet? You ought to be.
Part of what makes Tagaq controversial is how she has taken an Inuit tradition--two women facing each other and performing the primal, sometimes eerie sounds of throat singing--and turned it into a solo virtuoso trance session supported by a range of contemporary music. The other part is how sexual she makes it all. Why, it's more sexual than hard rock because it is specifically, abundantly woman-sexual. Tagaq sources her voice in "the babymaker," as she calls it, and very much within the context of her culture's deep engagement with nature, red in tooth and claw. (Let's not get into her anti-PETA rants. Don't go there.)
She pants, hoots and howls, keens and babbles, turns gruff or flutey, all the while writhing and crouching, one hand splaying and articulating, eyes closed in ecstasy. With her viola player and percussionist keeping a steady, stately din, she throws back her head and simply yells. A promised "sweet little song" might indeed start out that way but quickly morph into something that makes your skull vibrate and try to lift away from your brain.
Song #1 clocked in around 40 minutes. The second--the "sweet little song"--was perhaps 15 minutes. One hour is probably enough Tagaq Therapy. But one more natural wonder awaited me outside the museum--a brilliant sunset over the nearby Hudson. Afterglow?
Learn more about Tanya Tagaq in this excellent interview on Innerviews and check out her Myspace page. And don't miss her next time!
Thursday, August 20, 2009
Inuit singer Tanya Tagaq performs tonight
NATIVE SOUNDS DOWNTOWN
Tanya Tagaq (Inuit)
Tonight: Thursday, August 20 -- 6pm [FREE admission]
National Museum of the American Indian, Pavilion
US Customs House, One Bowling Green, New York City
National Museum of the American Indian, Pavilion
US Customs House, One Bowling Green, New York City
Tanya Tagaq (Inuit) is a unique performer who has taken her love and respect of the ancient musical tradition of throat singing from her native Nunavut and mixed it with a powerful infusion of contemporary styles. She has collaborated with Bjork, Kronos Quartet, and Mike Patton (Faith No More/Mr. Bungle) and was named winner of the Canadian Aboriginal Music Awards "Best Female Artist" of 2008.
This performance is presented in collaboration with Lincoln Center Out of Doors and Americas Society.
DIRECTIONS [MAP]
The National Museum of the American Indian, George Gustav Heye Center, is located at One Bowling Green adjacent to the northeast corner of Battery Park, New York, New York.
Subway
Eastside IRT: 4 and 5 trains to Bowling Green.
Westside IRT: 1 train to South Ferry.
BMT: R and W trains to Whitehall Street;
M, J and Z trains to Broad Street.
Bus
M1 - South Ferry; M6 M15 - South Ferry.
Wednesday, August 19, 2009
Burn the beat around!
If, during Burn the Floor's first act, you keep wondering when the hell's this show gonna break for intermission, it's probably not because you're having a bad time. Most likely, it's because you're feeling an urgent need to get your blood pressure checked, your pacemaker readjusted or, at least, your sweaty brow mopped.
Australian director-choreographer Jason Gilkison has finally brought his decade-old success story--with its international cast of Latin and ballroom whiz kids--to Broadway's Longacre Theater. It belongs on Broadway. Though it will close on October 18, it should run here a much longer time.
Why? Well, simply because I could manually flip this show upside down like one of its fantastic dancers and turn it inside out and not find a single thing wrong with it. Staging, lighting, costuming, pacing, dancing, singing, and music playing--have I forgotten any other "ings"? Breathing? Being?--are all top notch. That's why.
I scoffed, at first, and avoided taking one of my serious concert dance friends or serious theater friends to see Burn the Floor, fearing their reaction to anything with the whiff of Dancing With the Stars and So You Think You Can Dance. (Indeed, most of Gilkison's champion performers--like charming Sasha Farber and sultry Peta Murgatroyd--have done time on those shows, and he was a SYTYCD guest choreographer.) So, I went alone. But I was wrong. If any of my friends could not enjoy themselves at Burn the Floor, I might have to rethink our friendship.
So, if you don't care for sexy and romantic dancing--or for Broadway musicals, for that matter--you might want to stay away. Or come with an open mind and give it a shot. If you do love ballroom and Latin, waste no time getting to the Longacre while there's still a floor left because, yes, they do burn it.
The title works because these dancers blaze. Curtain's up, they're ready to go and rarely ease off a driven pace. Samba, rumba, foxtrot, swing, tango, paso doble, even swoony Viennese Waltz get a fresh treatment and vigorous workout from imaginative Gilkison and his intrepid corps. Dance segments magically flow into one another and, in the absence of a narrative, the sweet-natured vocalizing of Ricky Rojas and hot-mama belting of Rebecca Tapia hold it all together.
And you're simply swept along without time to doubt or protest. At times, I definitely felt that I was dancing, too. When intermission arrived, a woman sitting behind me gasped, "I'm exhausted! I could collapse right now!" Kind of alarming, given the apparent average age of the audience!
Burn the Floor information
Tickets
60 Minutes creator, Don Hewitt, 86
Don Hewitt, Creator of ‘60 Minutes,’ Dies at 86
by Jacques Steinberg, The New York Times, August 19, 2009
Fringe benefits
38 Witnessed Her Death, I Witnessed Her Love: The Lonely Secret of Mary Ann Zielonko (Kitty Genovese Story)
Written and performed by LuLu LoLo, based on interviews with Mary Ann Zielonko
Choreography and direction by Jody Oberfelder, featuring members of Jody Oberfelder Dance Projects
This deeply affecting play features performance artist LoLo as multi-character monologist in the brilliant Anna Deveare Smith vein. LoLo, whose theatrical work centers around women's history in New York City, makes a riveting and heartbreaking Zielonko, Genovese's lesbian lover, but can also bring to life the Times editor A. M. Rosenthal and the psychopathic murderer Winston Moseley (who's eligible for parole next year, by the way).
Oberfelder surrounds these compact portraits with social dancing in the pre-Stonewall lesbian bar where the two women first met and choreographed stylizations of the thoughts, conversations and actions (mainly, inaction) of Genovese's 38 witnessing neighbors in Kew Gardens, Queens.
I was a kid in Queens when Genovese was murdered by Moseley; I remember my mother mentioning her story. It was bewildering that so many people could see or hear a woman being stabbed to death and crying for help over three separate attacks without rushing to her aid or calling the police. I never heard that Genovese had been part of a loving lesbian partnership and left her lover not only bereft but totally shut out by Genovese's family. This story, told well by LoLo and Oberfelder, grieves and terrifies me.
38 Witnessed has completed its Fringe run, but more people should see it, and I hope it will find a future venue. In the meantime, keep watch for your next opportunity to see the talented LuLu LoLo.
Face The Music...And Dance!
38 Witnessed may be gone, but you can still catch showings of FTMAD!, which is spiritually and viscerally beguiling to the max, will whoosh you with energy and leave you feeling high and maybe just better ready to go back out there and face a world gone mad!
There are so many good folks involved in this multi-choreographed production--and hats off to all--but let me just mention director-choreographer Tina Croll, choreographers Noa Sagie, Julian Barnett, Maura Nguyen Donohue, Heidi Latsky (and her kickass duetists Jeffrey Freeze and Luke Murphy); and shakuhachi musicians Rick Ebihara, Brian Nishii and Perry Yung.
At The Robert Moss Theatre, 440 Lafayette Street, 3rd Floor. Remaining shows: Sunday, 8/23 at 2pm. Thursday, 8/27 at 9pm and Saturday, 8/29 at noon.
More Fringey things to come...
Tuesday, August 18, 2009
Just say, "Go!"
Rocco Landesman, New Chief of NEA, Will See What Plays in Peoria
by Robin Pogrebin, The New York Times, August 17, 2009
omg!
Tom DeLay and Donny Osmond to Join ‘Dancing With the Stars’
by Bill Carter, The New York Times, August 17, 2009
Monday, August 17, 2009
Attack of the hula dancers!
Hula Dancers Ambush SF Apple Store [Video]
on Mashable, August 17, 2009
Okay, I'm heading out to Apple at 9th & 14th to see what might break out there! I think, for here, some radical queer performance art might be more appropriate!
Tweet my regards to Broadway!
It’s Broadway Gone Viral, With ‘Next to Normal’ Via Twitter
by Andrew Adam Newman, The New York Times, August 17, 2009
Saturday, August 15, 2009
Friday, August 14, 2009
Unemployed artists wanted for performance
Just received the following call from Lydia Bell:
Call to Unemployed Artists
I am seeking 3 unemployed artists for a week-long project in September. You must be unemployed, comfortable with performing, and have an active artistic practice.
I will pay you minimum wage ($7.25/hour) for a full day of work on Monday, September 7 (Labor Day).
From 9am-5pm we will work collaboratively on an improvisational score that addresses employment, artistic practice, and marketable skills. No prior performance or dance experience necessary--I will introduce artists to basic choreographic and improvisatory concepts.
Must also be free and able to perform the afternoon of Sunday, September 13 at an outdoor performance art festival in Williamsburg. This is phase II in the project work for pay, made possible in part by FEAST (Funding Emerging Art with Sustainable Tactics). If you are interested in participating or want more information, contact me: lydia.m.bell@gmail.com. You can also check out my website/blog.
I will pay you minimum wage ($7.25/hour) for a full day of work on Monday, September 7 (Labor Day).
From 9am-5pm we will work collaboratively on an improvisational score that addresses employment, artistic practice, and marketable skills. No prior performance or dance experience necessary--I will introduce artists to basic choreographic and improvisatory concepts.
Must also be free and able to perform the afternoon of Sunday, September 13 at an outdoor performance art festival in Williamsburg. This is phase II in the project work for pay, made possible in part by FEAST (Funding Emerging Art with Sustainable Tactics). If you are interested in participating or want more information, contact me: lydia.m.bell@gmail.com. You can also check out my website/blog.
Who knew? Rachel Maddow loves dance!
Rachel Maddow with Suzanne Carbonneau
Photo: Christopher Duggan, courtesy Jacob's Pillow
As some of you may know, I am a huge, huge, huge fan of broadcast journalist Rachel Maddow and her MSNBC show, having first heard her and followed her work on Air America. Some years ago, my wife and I had the pleasure of meeting and chatting with Rachel at a women's conference at Barnard College. I remember her telling me that she'd never actually met a dance critic.
So, it was a delightful surprise, a few days ago, when I received the following note from Mariclare Hulbert, Communications Manager of Jacob's Pillow Dance. This--along with the Maddow show's recent initiative to help the Iraqi baseball team get uniforms and equipment--is enough to make me forgive Rachel forever for being a rabid Red Sox fan!
Enjoy!
Eva :-)
**************************
Rachel Maddow with Suzanne Carbonneau
Photo: Christopher Duggan, courtesy Jacob's Pillow
Dear Colleagues,
As you may know, on August 8th Jacob’s Pillow Dance Festival hosted a PillowTalk (free and open to the public) with Rachel Maddow, host of top-rated programs on MSNBC and Air America. The talk was held on the Pillow’s Inside/Out stage, an outdoor performance space where thousands of people attend free performances every Festival season. The PillowTalk, was moderated by Scholar-in-Residence Suzanne Carbonneau, noted dance critic and historian.
Rachel Maddow lives in the Berkshires of Massachusetts and she and her family often attend performances at Jacob’s Pillow. She began the talk by declaring that she is not a dance expert:
“I know nothing about dance. I am a fan. I am a fan of dance and of Jacob’s Pillow and a fan of people who know nothing about dance going to see dance.”
Throughout the hour-long conversation, Ms. Maddow and Ms. Carbonneau discussed many topics including the arts, education, society, politics, policy, and the role of the arts in society.
Ms. Maddow was well prepared for the event in her characteristically intelligent, thoughtful, and witty way, and it was clear that she was engaged by the topics at hand.
Here are a few quotes I would like to share with you:
“Sometimes we choose to serve our country in uniform, in war. Sometimes in elected office. And those are the ways of serving our country that I think we are trained to easily call heroic. It’s also a service to your country, I think, to teach poetry in the prisons, to be an incredibly dedicated student of dance, to fight for funding music and arts education in the schools. A country without an expectation of minimal artistic literacy, without a basic structure by which the artists among us can be awakened and given the choice of following their talents and a way to get to be great at what they do, is a country that is not actually as a great as it could be. And a country without the capacity to nurture artistic greatness is not being a great country. It is a service to our country, and sometimes it is heroic service to our country, to fight for the United States of America to have the capacity to nurture artistic greatness.”
– Rachel Maddow
“Not just in wartime but especially in wartime, and not just in hard economic times but especially in hard economic times, the arts get dismissed as ‘sissy.’ Dance gets dismissed as craft, creativity gets dismissed as inessential, to the detriment of our country. And so when we fight for dance, when we buy art that’s made by living American artists, when we say that even when you cut education to the bone, you do not cut arts and music education, because arts and music education IS bone, it is structural, is it essential; you are, in [Jacob’s Pillow founder] Ted Shawn’s words, you are preserving the way of life that we are supposedly fighting for and it’s worth being proud of.”
– Rachel Maddow
Thursday, August 13, 2009
Landesman: He's got them talking!
With First Interview, N.E.A. Chairman Stirs the Online Pot
by Dave Itzkoff, The New York Times, August 12, 2009
Wednesday, August 12, 2009
A life of loving dance
A life of loving dance
by Eva Yaa Asantewaa
Many thanks to Daniel Phoenix Singh for the invitation to write this essay for his company Dakshina's blog!
Tuesday, August 11, 2009
Eunice Kennedy Shriver, 88
Eunice Kennedy Shriver, Founder of Special Olympics, Dies at 88
by Carla Baranauckas, The New York Times, August 11, 2009
Photographer Marcey Jacobson, 97
Marcey Jacobson, Photographer of Mexican Indians, Dies at 97
by Bruce Weber, The New York Times, August 11, 2009
40-year-old Ottawa dance troupe to disband
Financial Straits for Arts Companies in Ottawa and Minnesota
by Melena Ryzik, The New York Times, August 5, 2009
Monday, August 10, 2009
Outdoors with Midón and Ndegeocello
I went to the Lincoln Center Out of Doors Festival the other night to catch up with the always-fascinating Meshell Ndegeocello, whose music I hadn't heard in a while. But I ended up falling in substantial admiration--if not total love--with Raul Midón, who opened their sweet, cool evening at Damrosch Park Bandshell.
One of his fervent fans likened Midón--a blind singer-guitarist with Black/Argentinian roots--to the venerable Stevie Wonder. Now when it comes to total love, I am fallen-and-can't-get-up in total love with Stevie, and there's only one of him. When Midón came out and stood at the stage's edge, all alone with his guitar, it seemed as if the bandshell and the open sky above Lincoln Center would swallow up this gentle man.
But then, yeah, Midón started to play and sing, sounding unmistakably like Wonder. He worked similar rhythmic pathways ("Don't Take It That Way") and mellifluous, uplifting material ("Sunshine/I Can Fly," "State of Mind"). Maybe I was hearing a little Marvin Gaye in his often-enchanting voice, and the lilting Sting of early, reggae-flavored Police ("Invisible Chains"). After a while, I realized Midón was more than holding his own with that lone guitar, with his uncanny ability to mimic a trumpet's sounds, his sense of humor and winning rapport with the audience, even his brief taxi to the dark side ("About You," as in,"I never really gave a fuck about you"). He's a delight, and his Web site is here.
For the longest time, I couldn't sort out much of what Ndegeocello was singing--speaking of things getting swallowed up--but I did get mindlessly swept up in the pumping, soupy, trancey, irresistible rock groove that she and her quartet laid down. Expect her new CD and a gig at Highline Ballroom on October 6.
Second life for rare Egan harp
For a Rare Discarded Harp, a Chance to Sing Again
by Colin Moynihan, The New York Times, August 10, 2009
Arts academia and the economy
Arts Programs in Academia Are Forced to Nip Here, Adjust There
by Patricia Cohen, The New York Times, August 9, 2009
Sunday, August 9, 2009
Saturday, August 8, 2009
Famed African/African American art collection destroyed in fire
In Ashes of Peggy Cooper Cafritz’s Collection, Seeds of a Heritage
by Rachel L. Swarns, The New York Times, August 8, 2009
The significance of Naomi Sims
I appreciate this writer's perspective on the accomplishments of Naomi Sims.
Former model Naomi Sims dies of cancer at the age of 61
by Robin Givhan, The Root, August 5, 2009
Landesman champions the arts
Rocco Landesman, New Endowment Chairman, Sees Arts as Economic Engine
by Robin Pogrebin, The New York Times, August 7, 2009