Working by Day, Blogging by Night
June 30, 2009
Several weeks ago, while chatting in a theater lobby before a dance performance, a publicist wanted to know how Dancing Perfectly Free started, and – much to my surprise – assumed that blogging is my paid, full-time job. I was both flattered and alarmed. I explained to her that from nine to five, Monday through Friday, I work for an environmental organization, and navigating around that schedule (meaning at night and on weekends), I attend performances and write for the blog. Watching and writing about dance doesn’t usually feel like work; after all, DPF started as a hobby, to share my passion for dance with the online community and engage readers and fellow bloggers. But I do dedicate a great deal of time to the blog, and when I don’t post for a few days or can’t make it to a performance, I feel like I’m depriving my readers and slacking on my obligation as a dance blogger. And then I remind myself that DPF is a not-for-profit endeavor. With the exception of my time and energy (and sleep), it costs me very little, and I don’t earn any income from it. I’m certainly not alone. There are plenty of other bloggers in the same position: working for money by day, blogging for free by night.
In another category are the journalists-turned-bloggers – individuals who have lost jobs or freelance work at publications and are now blogging for exposure (and hopefully because they love what they do). Laura Collins-Hughes, who blogs on ArtsJournal and ARTicles, the blog of the National Arts Journalism Program, wrote a compelling post about why it’s unacceptable for journalists to be blogging for free. She explains that it’s fine to use blogging for exposure, but firmly states that “exposure doesn’t pay the rent” and journalists who blog for free “debase journalism”. By blogging, journalists are providing a service to their readers, so it seems logical that there should be a monetary incentive while exposure should be an additional perk. But sadly, paid blogging is the exception, not the rule.
So what does this mean for the future of blogging and journalism? For individuals, blogging isn’t sustainable or realistic if it’s given away for free, while employers and publications that are suffering from budget cuts can look for journalists who are willing to volunteer their services. And it’s hardly worth mentioning corporate sponsors, which are fading fast. I wonder for how long journalists will blog for free before putting their foot down and demanding to be paid for their time and product. And at one point is blogging merely for exposure no longer worth it? How do independent bloggers like myself strike a balance between blogging for personal fulfillment and making a living? I seriously doubt Dancing Perfectly Free will ever be a paid, full-time job. But if it is, that publicist will be the first to know.
Jacob’s Pillow Wants to Know…
June 27, 2009
Jacob’s Pillow, home to an international dance festival since 1933, invites the public to respond to the following question: Why do you dance? Whether you’re training for a professional career or dancing alone in the kitchen, The Pillow wants to hear from people around the world by sharing their thoughts on Facebook, Twitter, or by emailing info (at) jacobspillow (dot) org. Everyone’s responses will be posted on the Pillow’s website throughout the summer. So far, the responses include: “It’s my drug”, “What else would I do?”, “I dance because it makes my entire body smile”, and “Pays the rent”. Join this community effort, tell the Pillow why you dance, and check back often to view the responses.
Michael Jackson (1958-2009)
June 26, 2009
MJ was an incredible singer and an iconic dancer. I still remember trying to master his moves while watching this performance, at the 1993 Superbowl, in my parents’ living room.
Be In the Gray With Me
June 24, 2009
Theresa Ling in "Be in the Gray with Me", photo by Yi-Chun Wu
There is nothing black or white about Pam Tanowitz’s newest work, Be In the Gray With Me, presented this past weekend at Dance Theater Workshop. Navigating the gray area between ballet and modern is tricky, but Tanowitz, who avoids labeling herself or her work, is an intelligent dancemaker. Be In the Gray With Me is full of elegant movement without excess. A narrative seems to be buried within the varied lighting, music, and thoughtful formations, but it is so subtle that it leaves the viewer wondering what, if anything, to make of it. Each of the four sections in the work is compelling, but each looks better on its own than as part of the whole.
Tanowitz’s movement is rooted in ballet vocabulary – arabesques, jetes, and fouettes are identifiable – and there are clear references to Balanchine works and the Rose Adagio from Sleeping Beauty. But the first section, set to Vladimir Martynov’s romantic score for strings, has the spatial awareness and unpredictability of Cunningham, while other, more richly textured sections refer to Paul Taylor’s strides and jumps. Tanowitz weaves history into her work, but she does so without simply rehashing what’s already been done. Be In the Gray With Me looks fresh and new, thanks in part to the nine gorgeous movers, especially Christina Amendolia and Ellie Kusner. Dressed in Renée Kurz’s sleek gray costumes with individual touches, the dancers have unique personalities. This is no cookie-cutter corps of swans.
Philip Treviño’s set design maximizes the space by hanging white plastic sheets along the sides and back, in place of the wings. Doors are cut into each sheet, eliminating the distinction between on and off stage and throwing into question where the piece begins and ends. The dancers can be seen starting a phrase behind the sheet before emerging, or calmly watching the others while waiting to enter. Treviño’s lighting bathes the dancers in shades of white, blue, and near the end of the work, a deep red. Just as varied is the music, which along with Martynov, includes Dan Siegler’s electronic score, the propelling rhythms of Pavel Karmonov, and an ambient composition by Alexandr Raskatov.
Ellie Kusner and Anne Lentz in Be in the Gray with Me, photo by Yi-Chun Wu
Moments of tenderness and intimacy among pure, imaginative movement hint at a narrative. There’s no clear arc, but something seems to be lurking. If a narrative exists, it’s hidden within the multilayered movement and spatial sophistication of the work, as opposed to being conveyed through gesture or facial expressions. Indeed, the dancers remain so serene (and at times reserved) and their phrase work so fluid that it’s impossible to see a story in their individual performances. Nothing about Be In the Gray With Me is obvious. The viewer has to look closely into the hazy, beautiful gray area to discover all of the work’s nuances.
Dancing with the Berlin Wall
June 22, 2009
The Berlin Wall, photo by James Starkman
Two of my friends just returned from a trip to Berlin, where they spent some time exploring the Berlin Wall and sent me the above photograph. It not only seems appropriate given this blog’s title, but also relates to the ongoing Berlin Wall Project, created by the German-born dancer and choreographer Nejla Y. Yatkin. The project reflects upon what the Wall and its removal meant to the world in its broadest sense. To celebrate the 20th anniversary of the fall of the Berlin Wall, Yatkin is creating a new work, Dancing with the Berlin Wall, about the emotional impact the wall had on its citizens and the world. The work will echo, embody, and subvert the dynamic interaction between individuals, movement, and the emotional impact of barriers.
The Project includes a short dance-on-camera film in collaboration with filmmaker Mike Rogers; a site-specific installation about the Wall to be performed on November 9th (the anniversary of the fall) at two gallery spaces at the Goethe Institute in New York City in collaboration with photographer Astrid Riecken; and a tour of Dancing with the Berlin Wall in New York City, Washington, and Los Angeles. This week, Yatkin and her company will head to Berlin to film their dance-on-camera piece, and on August 8th and 9th they will show a preview of Dancing with the Berlin Wall at the Ailey Citigroup Theater. Learn more about the project at the Berlin Wall Project’s blog.
