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The article focuses on Alexei Ratmansky, a renowned choreographer in the world of ballet, whose work has breathed new life into art form and his journey to revive classical ballet and his commitment to preserving ballet history and challenges he faces as audiences and dance coverage decline.

The article discusses the unique challenges and creative opportunities involved in choreographing straight plays, as explored by Broadway choreographers Susan Stroman, Sonya Tayeh, and Sam Pinkleton. Topics include the importance of movement in enhancing storytelling, the varying approaches to incorporating choreography in different theatrical contexts, and the role of non-dancers in achieving dynamic physical performances.

The article discusses Israeli Prime Minister Binyamin Netanyahu's recent visits to Congress and the White House, highlighting comparisons made between his speeches and Nazi propaganda. The author criticizes Netanyahu's policies and argues that the United States should reassess its relationship with Israel and its assumptions about Palestinians. The article also questions the accuracy of Netanyahu's past predictions and highlights the negative consequences of US involvement in the Middle East. The author concludes by advocating for a change in US policy towards Israel, suggesting a stance of strong self-defense and strict neutrality in foreign conflicts to avoid the influence of the military-industrial-security complex. [Extracted from the article]

Terminus Modern Ballet Theatre, founded in 2017 by former Atlanta Ballet dancers, has become a major force in the Atlanta dance scene. Despite initial doubts, the company has thrived and produced 21 world premieres. However, the troupe is currently going through a period of transition, with some questioning if they can continue their tradition of top-tier performances. The organization remains committed to putting the dancer at the center of their work and maintaining a creative and collaborative culture. They are also focused on empowering the next generation of dancers and expanding their budget and resources. [Extracted from the article]

This article from TIME Magazine highlights the achievements and impact of Victoria Monét, a musical powerhouse. Monét's talent is evident through her chart-topping hits, powerful voice, and unmatched choreography, which have earned her three Grammys. What sets Monét apart is her grace, authenticity, and heart that she brings to everything she does. She pays homage to the artists who came before her while continuously innovating and creating something uniquely her own. Monét's influence extends beyond the music industry and touches the lives of all who experience her art. She has spent over a decade shaping the future of music and is a bridge between the past and present, paving the way for future generations. [Extracted from the article]

The article explores the art of concise choreography, emphasizing the impact and challenge of creating short dance pieces that effectively convey mood and meaning in a brief timeframe. Topics discussed include strategies for establishing a quick but powerful choreographic landscape, distilling improvisational exploration into essential elements, and the significance of each move in conveying a dance's message.

The article focuses on Chunky Move, a Melbourne dance company, as it approaches its 30th anniversary, highlighting its upcoming immersive performance "You, Beauty," directed by Antony Hamilton. Topics include Chunky Move's history of innovation in dance, Hamilton's precise choreography style, and the incorporation of technology and artificial intelligence in contemporary dance.

The article focuses on the innovative choreography in theater productions. It highlights how shows like Natasha, Pierre & The Great Comet of 1812, Here Lies Love, and Cabaret adapt movement to unconventional stage settings. It reports that choreographers like Sam Pinkleton and Julia Cheng embrace spatial challenges to create intimate and authentic audience experiences, while also collaborating closely with scenic designers to integrate movement seamlessly into immersive theater designs.

The article focuses on the evolving landscape of Broadway choreography, incorporating movement makers from diverse genres beyond traditional musical theater dance. Topics include the emergence of choreographers from experimental, commercial, modern, and physical theater backgrounds, reshaping the choreographic language of Broadway productions.

The 35th Bienal de São Paulo, titled "Choreographies of the Impossible," aimed to reflect the diversity, complexity, and urgency of the current global situation. The curatorial team, composed of a Black-majority group, sought to explore how bodies in movement can find ways to choreograph the possible within the impossible. The exhibition featured over 1000 works by 121 artists, with 80 percent of them being non-white and the majority coming from countries in the Global South. The artworks addressed various themes such as decolonial struggles, Indigenous temporalities, LGBTQIA2+ identity, African diaspora affirmations, and resistance movements. The exhibition was organized in a non-Cartesian manner, with intertwining paths and no prescribed sequence, allowing visitors to draw connections between the works. The inclusion of activist spaces and initiatives further emphasized the exhibition's commitment to countering oppression and violence. Despite being organized under the Bolsonaro government, which had oppressive policies, the exhibition aimed to inspire and compel viewers to keep moving forward and reinvent spiraling dances on shifting grounds. [Extracted from the article]

The article focuses on recent performances of ballet works, showcasing the diversity and skill in contemporary and classical choreography. Topics include Kenneth MacMillan's varied works with The Royal Ballet, such as "Requiem" and "Danses Concertantes," Rocío Molina's emotive flamenco performance in "Vuelta a Uno," and the impressive execution of "Don Quixote" by Marianela Nuñez and Vadim Muntagirov.

This document provides information about artist Vanessa German and her work, including sculptures made from various materials. German's involvement in a class at the Gray Center, where she explored fairy tales, witchcraft, and magic in relation to art, is also mentioned. The artist emphasizes the importance of spirituality, vulnerability, and conversation in her creative process. The document concludes with an interview with German, where she discusses her empathic abilities and the significance of rose quartz in her recent work. Additionally, the document discusses two different courses being offered: one exploring the perception of witches and feminism, and the other focusing on combat and performance art in relation to spirituality and social healing. Lastly, the document outlines the schedule and requirements for a course on mystery, horror, and the uncanny, as well as a syllabus for a course on Black mysticism and its impact on creating more livable worlds. [Extracted from the article]

The article presents the discussion on Sweet Adelines International's implementation of the Visual Communication category since October 2021. Topics include emphasizing its goals to clarify judging criteria, prioritize inclusivity, and promote authentic expression through makeup, costumes, and choreography; and promoting inclusivity and authenticity through expressive performance elements like makeup, costumes, and choreography.

The article reports that the choreographer and director Trajal Harrell, celebrated for his profound appreciation of performance rituals, has masterfully blended voguing, runway styles, butoh, and dance genres, gaining international acclaim during his five-year leadership with the Schauspielhaus Zürich Dance Ensemble. His forward-thinking repertoire delves into speculative historical scenarios, creatively merging various eras and philosophies to craft imaginative and futuristic choreography.

The article "METAMORPHOSIS: LIMITLESS TRANSFORMATION" deals with the topic of metamorphosis and how it can be used in theatrical play and choreography creation. Metamorphosis describes the process in which an individual transforms. In music class, it is suggested to use the song "Bones" by Imagine Dragons to create a choreography. The students are encouraged to come up with ideas for possible dance figures and then sketch and translate them into movements. Group work and student exchange are emphasized to achieve a variety of movements. [Extracted from the article]

The article focuses on choreographers who have found long-term artistic soulmates, exploring how these collaborations transcend disciplines and decades to create boundary-pushing and rewarding work. The four duos highlighted include Ayodele Casel and Arturo O'Farrill, David Roussève and cari ann shim sham, Cynthia Oliver and Jason Finkelman, and Raja Feather Kelly and Michael R. Jackson. Topics include the unique dynamics of each partnership, and the experimental ideation that fuels creativity.

Once Upon a Dance is a series of books aimed at getting kids excited about dance and promoting its benefits for the body and brain. The books cover various themes and age groups, exploring social-emotional learning related to self-acceptance, kindness, friendship, and courage. The series is designed to inspire young girls and provide strong role models. Each book has a charity partner that aligns with its plot elements, supporting causes such as the arts, animals, environment, and people. The books also aim to challenge traditional gender roles in ballet and advocate for more diversity and inclusivity in the dance world. Sample audiobooks are available for free, and additional resources can be found on the Once Upon a Dance website. [Extracted from the article]

The article explores the enduring influence of Maurice Ravel's Bolero on dance choreography, tracing its evolution from its inception as a ballet to its reinterpretations by renowned choreographers, including Maurice Bejart and Odile Duboc.

The article focuses on the Paris Opéra's performance of Ohad Naharin's "Sadeh21," highlighting its experimental nature and impact including the use of a diverse range of dancers from the corps de ballet, the exploration of 21 mental landscapes through abstract choreography.

The article focuses on Alina Cojocaru's return to the London stage in a new ballet adaptation of Federico Fellini's La Strada . Topics include her captivating performance as Gelsomina, the uneven quality of Natalia Horecná's choreography, and the overall impact of Cojocaru's artistry in elevating the production despite its shortcomings.

The article focuses on Martin Harriague's appointment as the new artistic director of Ballet de l'Opéra Grand Avignon including Harriague's previous roles at various dance companies, his experience in choreography across Europe, and his prior collaboration with the Avignon.

The article discusses the launch of a new dance foundation at l'Académie des Beaux-arts in Paris, France, in February 2024, initiated by Thierry Malandain, focusing on supporting new choreographers, aiding professional dancers in training and retraining, and promoting research in choreography.

This article tracks the author's journey as a Fitzmaurice Voicework practitioner, situating it in relation to their other journeys and histories: from Southeast Asia to the West Coast of Canada, from a Chinese-Malaysian growing up in a polyglot society grappling with the detritus of past colonialism to being a naturalized Canadian grappling with the tensions of current settler colonialism. It connects their practice as a performance-maker to their practice as a voice teacher. [ABSTRACT FROM AUTHOR]

The article focuses on the career and creative journey of Hope Boykin, a renowned dancer and choreographer. Topics include her impressive performance career with Philadanco and the Alvin Ailey American Dance Theater, her transition to choreography, and her upcoming choreographic debut in New York City with her company, HopeBoykinDance.

The article focuses on the career and profile of the choreographer Stefanie Batten Bland who is known for her innovative work in the field of dance and performance and has created artistic voice with combining art forms such as theater and dance. Topics include her choreography of the theatrical production "Let's Hang Out Like Wet Clothes," company founded by Batten Bald to support growing choreographic projects in 2008, and audition of Batten Bald for the production "Sleep No More."

The article explores the balance between personal interpretation and adherence to choreography in dance, emphasizing the insights of Ronni Favors, rehearsal director for Alvin Ailey American Dance Theater. Favors and other experts stress the importance of curiosity, emotional connection, and collaboration with fellow dancers and choreographers, encouraging dancers to bring their unique perspectives to roles while remaining respectful of the original choreography.

"Saturday Night" is a film directed by Jason Reitman that depicts the chaotic birth of Saturday Night Live (SNL) in real time. Set in 1975, the movie follows the 90 minutes leading up to SNL's first broadcast, showcasing the challenges faced by showrunner Lorne Michaels and the cast. Shot on a 360°, two-storey set and using textured 16mm film, the film aims to capture the immersive experience of 70s cinema. Featuring a mix of well-known and lesser-known figures, the movie explores the generational shift and the impact of SNL on television. [Extracted from the article]

The article offers information on Nadia Adame's leadership approach as the artistic director of AXIS Dance Company and her commitment to merging artistry with compassion and accountability. Topics include the implementation of policies for better dancer compensation and benefits; efforts to enhance diversity and inclusion within the company; and the introduction of innovative choreography and collaborations.

The article offers information on the complexities and artistry involved in harness dance, highlighting how it redefines the relationship between dancers and the ground. Topics discussed include the critical safety measures required for aerial performances; the importance of physical strength & preparation and skill development for harness work; and the role of artistic expression in creating impactful aerial choreography.

An interview with Felix Berner, a choreographer and dance educator is presented. He discussed his journey into dance, emphasizing its resonance in his life and his distinctive approach to choreography, highlighting collaborative processes. He also shed light on contemporary dance trends among youth and underscored the pivotal role of dance in personal expression and emotional exploration.

The article focuses on a dancer's journey of self-discovery through dance and creativity. It highlights the challenges and triumphs of choreographing and performing a solo dance while dealing with illness and personal relationships. It emphasizes moments of vulnerability, resilience, and growth as integral parts of the journey, and it reports the importance of resilience and personal growth in dance.

While these are just a few examples of dance in gallery or museum spaces, they speak to hugely diverse moments where choreography and dance are foundational to an artist's vision. Notwithstanding the recurrent mind/body and male/female binaries, many artists working across dance and the visual arts remain female identifying, and dance has been a pathway through which female artists have moved into the broader arts landscape. FEATURE Dance is moving into the gallery. [Extracted from the article]

The article dance events and several dance organizations such as All Bodies Dance Project, Seraka Dance Company and Nova Dance. It further discusses about exploring the choreographic possibilities of diverse ways of moving and perceiving; supporting the dance community and bring conversations about mental health, sharing honestly about grief, suicide, isolation, depression and anxiety; and belly dance fusion choreography of Seraka Dance Company by choreographer Vanessa Matthews.

Joseph Gordon, a principal dancer at the New York City Ballet, is preparing to perform in three ballets this fall, including the comedic ballet Coppélia. However, he is currently dealing with knee tendinitis, which is a common issue for dancers. Despite the challenges, Gordon continues to prioritize his rehearsals and uses techniques like marking to conserve energy and protect his body. Dancers like Gordon often spend several hours a day in rehearsals and engage in physical therapy to strengthen their muscles. [Extracted from the article]

The article explores the challenges dancers face due to mental health conditions. It highlights how anxiety, depression, and other disorders can impair memory and concentration, making it harder to learn choreography and perform at peak levels. It emphasizes strategies like self-care, breathwork, visualization techniques, and seeking professional help to manage these challenges effectively within the dance community.

The article discusses dancers on what they bring into leadership roles which include Kiyon Ross, the associate artistic director for Pacific Northwest Ballet, Clifton Brown, assistant director at the Alvin Ailey American Dance Theater, and Helanius J. Wilkins, associate director of dance in the Department of Theatre & Dance at University of Colorado. Topics include Ross's first foray into choreography in 2005; Brown on how Dancers are being heard; and Wilkins on leadership role in dance.

The article discusses how American dancer Andy Blankenbuehler brought a long cherished project, a stunning dance musical called Only Gold, to off-Broadway's MCC Theater. Topics include Blankenbuehler's involvement in choreography, dance, and musicals and his work with dancers on choreography for "Bring It On"; Blankenbuehler collaboration with theatre actor Ryan VanDenBoom; and works of choreographers into their 1980s.

The article profiles Jakevis Thomason, a talented choreographer who gained recognition for his work with Beyoncé and other prominent artists after graduating from the University of Southern California. It highlights his journey from a young dancer in Greenville, South Carolina, to an emerging star in the dance world, emphasizing his strong work ethic, close bond with his mother, and aspirations to explore opportunities in film and cinematography.

An introduction is presented which discusses articles on several topics including the raw intensity of Oona Doherty's choreography, the 30 anniversary of Complexions Contemporary Ballet, and the challenges and opportunities for female leadership in dance competitions.

The article focuses on the 26th Music Contest of the Thüringer Spielleute, held on June 15, 2024, in Triebes, Germany. It describes the event organized by the 1st Triebeser Fanfarenzug e.V., which included performances from various music groups and a competition judged by experienced adjudicators. It states that the contest featured both a marching competition and a show competition, where participants showcased their choreographed performances.

The article focuses on ensuring age-appropriate choreography in competition routines to prioritize the health and safety of young dancers. Topics discussed include setting clear guidelines for what constitutes age-appropriate content; evaluating music and narrative to match dancers' maturity levels; and avoiding technically demanding movements that could lead to injury.