New Media and "Old" Media
When has a First Lady ever started something that was this much fun? Last year Michelle Obama’s “Let’s Move!” campaign asked MFA student Callie Lyons and her teacher, NYU’s Dance and New Media director Paul Galando, to make a film in support of the campaign. The wonderful short film he made in response was shown at the Dance on Camera Kickoff Gala last Wednesday.
Galando decided to collaborate with Lyons and five other grad students at NYU Tisch and with dance photographer Lois Greenfield. The final product, which gives each dancer a solo while also showing Greenfield’s skill in shooting stills, is bursting with urban energy. It jumps back and forth between the dancers improvising on a rooftop in Long Island City and posing on a seamless for the famed photographer. It’s fun, it’s real, and it’s a peek into Greenfield’s process. The students are a diverse group of six spirited dancers, and Galando catches their energy.
At the gala, Dance Films Association (producer of Dance on Camera) honored Lois Greenfield with its Dance in Focus award. It projected 80 of her photos from the last few decades. Watching these rich, provocative images flash by, I realized how constantly innovative she has been over the decades. She has transformed dance photos from mere documents into a kind of performance of their own. As Elizabeth Streb said when she presented the legendary photographer with the award, “Lois and her subjects were wildly choreographing together.”
Just now posted: The terrific five-minute Galando/NYU/Let's Move film (co-produced and choreographed by Callie Lyons with the dancers), just got posted on YouTube. Each of the NYU students has a different style, and Galando's snappy editing allows each to shine in quick spurts. Click here to see the Let's Move NYU Tisch Dance film.
Photo: Lois Greenfield on the set of NYU's Let's Move film, photo by Paul Galando.
What if there was a way to get your dancing in front of the likes of Desmond Richardson, d. Sabela grimes and Vincent Paterson all at once? Just in case you needed another excuse to break out your best moves this week, the Dare to Dance in Public Film Festival is back, and Richardson, grimes and Paterson are among this year's judges.
Dancers and non-dancers alike are invited to submit short dance films to the international online festival, with one caveat: The dancing has to take place in a public space.
The dancers file into an audition room. They are given a number and asked to wait for registration to finish before the audition starts. At the end of the room, behind a table and a computer (and probably a number of mobile devices), there I sit, doing audio tests and updating the audition schedule as the room fills up with candidates. The dancers, more nervous than they need to be, see me, typing, perhaps teasing my colleagues, almost certainly with a coffee cup at my side.
When we're talking about the history of black dancers in ballet, three names typically pop up: Raven Wilkinson at Ballet Russe de Monte Carlo, Janet Collins at New York's Metropolitan Opera and Arthur Mitchell at New York City Ballet.
But in the 1930s through 50s, there was a largely overlooked hot spot for black ballet dancers: Philadelphia. What was going on in that city that made it such an incubator? To answer that question, we caught up with Memoirs of Blacks in Ballet founder (and frequent Dance Magazine contributor) Theresa Ruth Howard, who yesterday released her latest project, a video series called And Still They Rose: The Legacy of Black Philadelphians in Ballet.
Janie Taylor didn't know if she'd ever return to the stage. But that's exactly where the former New York City Ballet principal has found herself: Nearly three years after retiring, she is performing again, as a member of L.A. Dance Project.
Taylor officially debuted with the company at its December 2016 gala in Los Angeles, then performed in Boston, via live stream from Marfa, Texas, and at New York's Joyce Theater before heading off on tour dates in France, Singapore, Dubai and beyond.
"She is wildly interesting to watch—and not conventional," says LADP artistic director Benjamin Millepied. "There are films of Suzanne Farrell dancing, where you feel like the music is coming out of her body," he says. "I think Janie has that same kind of quality."
Last night was not your average Thursday at Bay Ridge Ballet in Brooklyn, New York. Studio owner and teacher Patty Foster Grado—a former Parsons Dance Company dancer—was teaching a boys class, when with only five minutes left, she heard commotion in the waiting area and someone yelled, "There's a lady giving birth in the bathroom!"
Where can you watch Giselle, Romeo and Juliet, The Nutcracker, Coppélia and Le Corsaire all in one place? Hint: It also has extra-buttery popcorn.
Yep, it's your local movie theater. Starting this weekend, theaters across the country will be showing Bolshoi Ballet productions of classical and contemporary story ballets.
When commercial dancer Danielle Peazer took on an ambassadorial role with Reebok in early 2016, she didn't realize the gig would also lead to a career shift. But while traveling with and teaching workshops for the brand, the idea for DDM (Danielle's Dance Method) Collective started to take shape.