movmnt magazine’s Blogger Get-Together
February 19, 2008
Last night I attended a blogger get-together hosted by movmnt magazine, a quarterly dance, fashion, music, and pop culture publication that just published its spring 2008 issue. Journalist David Benaym, the magazine’s editor in chief and publisher, invited dance bloggers to the magazine’s headquarters, where he and other magazine staff joined us in a two-hour round-table discussion that covered myriad dance-related topics. Several dance bloggers attended, including Taylor, Tony, and Brian (all from the Winger), Tonya, and Doug. Everyone had something thought-provoking to contribute to the conversation, which started with some discussion about blogging personalities versus real-life personalities. It’s interesting to interact with dance bloggers in person, since we primarily “see” each other online and interact via blog commenting. Clearly there’s a different dynamic when a bunch of bloggers are sitting around a table in an office!
The discussion quickly turned to how companies are (or aren’t) reaching out to bloggers and the internet for publicity, and how bloggers can (and should) reach out to companies. The consensus seemed to be that bloggers have to make the effort, especially with larger companies, since they are unlikely to make contact with dance bloggers. The reason for this, in part, is that companies are used to contacting mainstream critics from newspapers and magazines, and are unaware of the thriving dance blogosphere. If only they knew and understood that bloggers have the potential to reach many more viewers/readers than a newspaper or magazine review. Companies could be much more effective in their outreach, particularly with younger audiences, if they utilized more online marketing and communications. As someone mentioned in the discussion, Kristin Sloan’s videos that documented the making of New York City Ballet’s premiere of Romeo and Juliet were a huge success. And David noted that Cedar Lake’s recent performances sold out after the bloggers and I wrote about the dress rehearsal and get-together, suggesting that bloggers really do have a positive impact on dance companies’ visibility and ticket sales. While we agreed that Cedar Lake’s blogger outreach was exciting and definitely a first, unfortunately it doesn’t look like other companies are following their lead.
The evening ended with goody bags for all, filled with the Spring 2008 issue of movmnt along with some older issues, a beautiful book of photography called “Moving Still – a life performance” (produced by David), and movmnt socks! Seriously, who doesn’t love a good pair of socks? Many thanks to David and the other movmnt magazine staff for hosting the get-together. Hopefully there will be more meet-ups and good conversations to come. Be sure to check out the magazine’s website and social network.
(Heartbreaking) Matters of the Heart
February 17, 2008
The quadruple-bill “Matters of the Heart” program at New York City Ballet was definitely worth seeing, just maybe not on Valentine’s Day. Three out of the four ballets ended with heartbreak, death, or loss (or all of the above), the exception being the story-less Raymonda Variations. Maybe Peter Martins should have thought that one through a little more when putting together this program, but the ballets still nicely complimented each other.
In Balanchine’s Raymonda Variations, Andrew Veyette replaced Benjamin Millepied, and I have a feeling this was a last-minute substitution because he was stiff and did not look comfortable with the choreography. Although he and Ashley Bouder danced well together, his solos were rushed, and at times, possibly improvised. Ashley was in top form (when isn’t she?), with suspended balances and solid pirouettes. She clearly has superb technique, but it’s important to point out her ability to engage the audience. She “speaks” with them, not just at them. Sara Mearns’ variation was memorable for the harp music and her gorgeous, lush movement quality.
Balanchine’s adorable The Steadfast Tin Soldier, based on a Hans Christian Andersen fairy tale, tells the story of the love between a ballerina paper doll and a tin soldier. Megan Fairchild was a sweet and innocent little doll with sharpness in her steps and a lively face throughout this short ballet. Daniel Ulbricht proved that he can morph seamlessly from an eager sailor in Fancy Free (a few weeks ago), to the Prodigal Son, and on Thursday to a sharp, dedicated toy soldier. It is a tender and somewhat nostalgic ballet, suggesting a desire to return to youthful innocence. How heartbreaking when the wind blows the paper doll right into the flames of the fireplace, and the toy soldier is left alone in the festive living room.
Christopher Wheeldon’s The Nightingale and the Rose was equally heartbreaking. There are no words to describe the beauty of Wendy Whelan’s breathtaking opening solo, with dimmed yellow lighting and the faint chirping of birds in the background creating a tranquil environment. It gave me the chills. She is a powerful but solitary nightingale, who eventually sacrifices herself in the name of love. As she gives her blood to a rose to stain it red, the thorns of the rose bush prick her and toss and turn her body until she lays lifeless. This is beautifully portrayed by Whelan and sixteen men, led by Adrian Danchig-Waring and Sean Suozzi. Like many of his other ballets, this one demonstrates Wheeldon’s talent at creating interesting, unusual pas de deux.
I’ve seen Robert Schumann’s Davidsbundlertanze several times before, and I’m usually bored by this lengthy ballet. But on Thursday, I was deeply moved by the music (wonderfully played by Cameron Grant at the piano), and reflected on what this ballet conveys about Schumann’s life. The many duets depict both the joy and depression that marked his personal life and career. I hope I’ll continue to appreciate the beauty of this piece. Unfortunately, Darci Kistler was unable to perform a lot of the quick partnering without losing her technique. She looked weak and uncomfortable. Sara Mearns, who danced in the role that “belongs” to Kyra Nichols, dazzled the audience with her poise, grace, and maturity. Kudos to her on performing brilliantly in three ballets in one evening! Philip and I agree that Davidsbundlertanze needs a scenery update. The hideous, faded pink backdrop, which depicts cliffs along a seashore, as well as the chandeliers in the ballroom, look dated and really detract from the dancing.
Blogging Rights, Baby
February 6, 2008
My fellow blogger Counter Critic has posted a series of essays called “Ways and Means: A Five-Part Meditation on Writing about the Arts”. Each essay raises some interesting and thought-provoking questions about arts criticism, blogging, and the authority to critique. The essays got me thinking about my own role as a blogger and why I’m doing this. For starters, I enjoy writing about dance performances I see and, more generally, about all things related to dance. As a dance minor at Barnard, I had some amazing opportunities to analyze and write critically about dance. I learned how to view dance more actively and how to be an engaged audience member. Now that I’m out of college, and probably attend more dance performances than I did while a college student, I almost feel obligated to keep writing about what I see (It’s actually a challenge for me to watch a performance without writing the beginning of a review in my head). And what better way to share my thoughts with a lot of people than by blogging? I suppose a little part of me (or not so little part) misses writing formal critiques for my college dance courses. In fact, I’ve noticed that my recent reviews and blog postings tend to sound pretty formal, as if I’m trying to be a mainstream critic (I’m not). I’d like to change that. In the most recent part of the series, called “Criticizing the Critics”, Counter Critic talks about the importance of “freeing up tone” of arts criticism, with which I fully agree. So, my goal over the next few months is to free up the tone of my reviews. I’m sure it’s easier said than done, but I’ll give it my best shot.
In the first part of the series, CC asks a great question: “What gives anyone the authority to be a critic?” Here’s my response: I don’t have a degree in dance journalism or criticism, I’m certainly far from an expert on anything in the dance field, and I’m not even a very eloquent writer. But I’m passionate about dance. I like watching it, reading about it, choreographing movement in my head while walking down the street, and dancing around my living room (and in dance studios, too). Most importantly, I always have something to say about dance. Is that enough?
Improv Everywhere
February 6, 2008
Imagine walking into Home Depot and every other person is shopping in slow motion. Literally. Or if one day every subway you got on had a plethora of people casually riding pantless. The slogan of Improv Everywhere is “we cause scenes.” And that they do. They go into public situations and execute fun and bizarre “missions” of synchronized silliness. (Similar to Columbia’s Prangstgrup’s infamous and wonderful video, Reach! A Lecture Musical. View here.) But of course, all the bystanders have no idea it’s been coordinated and watch, baffled, confused, and entertained by whatever odd events seem to be unfolding. I recently came across the “Grand Central Freeze” (video above) and thought it was absolutely beautiful. One my favorite things about New York has always been coming across art in the most random and public places. I also enjoyed the “Cell Phone Symphony” mission- only because I relished watching the absolute bewilderment of the usually oh-so-smug staff members of the Strand Bookstore.
