May 3rd, 2013
April 29, the birthday of French dancer and choreographer Jean Georges Noverre, who made gifts to dance, has been celebrated as World Dance Day all around the world. The day was introduced in 1982 by the International Dance Committee of the UNESCO International Theatre Institute.
The intention of the International Dance Day significance is to celebrate Dance, to revel in the universality of this art form, to cross all political, cultural and ethnic barriers and bring people jointly with a universal language – Dance.
Every year a message from an wonderful choreographer or dancer is spread throughout the world. The personality is chosen by the founding entity of the International Dance Day – the International Dance Committee of the ITI, which collaborates with World Dance Alliance, a Cooperating Member of the ITI.Together with the World Dance Alliance, ITI and its Dance Committee celebrate International Dance Day at UNESCO in Paris.
ADOB head choreographer Elif Poyrazoglu said that the interest of families and young people in dance had better in the last 10 years, adding, “Private courses began giving ballet training for adults. People began getting into ballet to get rid of stress from business life or health problems.”
Naach, Nritya, Natya Shastra. Three terms that may appear same for a commoner, but aren’t the same. These words are like a trained asset, like the most precious jewel in a wealth temple and a living organ in any dancer’s body.
A London based independent choreographer, performer and the grandchild of renowned classical artist Padma Bhushan awardee Mrinalini Sarabhai, he says, “I love experimenting, and talking about my individual style as a male dancer.” Revanta never stops his heart from mixing western modern moves with the traditional classic flavour and bring it on the dance floor. “Apart from enjoying the new vocabulary of movements, as a modern day classical artist, I really believe it is very important to package and present the art form well and make it accessible to the young audience,” says Revanta.
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March 20th, 2013
Most of America identifies Stacey Tookey as an Emmy Award-nominated choreographer. But before her moment in television publicity, Tookey had a memoirist performance career with Mia Michaels R.A.W., Parsons Dance Project, Ballet British Columbia, and Celine Dion Las Vegas show A New Day, along with others. Because of these experiences, she knows how special it is to work full time in dance.
A show like So You Think You Can Dance has given dance massive pop traditions exposure. But every professional dances always thinking that how to get a succeed point by hardworks. This fall, Tookey launches her own dance company, Still it in action. Her mission is always to challenging others by dance, providing a safe, protected environment for emerging artists, as well as a channel for her choreography.
Tookey’s knew that what all are difficulties there in dance company and she has said that only passionable persons can get into dance field and perform well by whos them inspiration in dance.
In my made-up second life, I am best friends with Kathryn McCormick and Chantel Aguirre, and we are all members of Stacey Tookey’s newly-formed company, Still it’s in movement. In actual life, Kathryn and Chantel , really are members of Tookey’s company. Sure, I’m jealous. But I’m sure a spot will open up in the company and the friendships for me soon enough. In the meantime, I am so into this just-released video from Tookey showcasing a bit of the incredibly talented dancers from Still Motion in Moments distinct.
Tags: memoirist performance, Stacey Tookey’s Moments
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March 5th, 2013
Friday was an evening of firsts. There were world opening of the two inaugural main-stage commissions under the Royal Ballet new director, Kevin OHare. One of these represented former Bolshoiboss Alexei Ratmansky choreographics debut for a British company, the other Christopher Wheeldon first work as Royal Ballet artistic associate.
The programme started on 1928 with Apollo, Balanchines earliest surviving creation, here danced as to the manner born (for good and ill) by Carlos Acosta, with Marianela Nuñez a ravishing Terpsichore and Olivia Cowley a sparkling Calliope. In this part the Georgian remoulded classical mythology into a startling new innovation. And, albeit differently, both Ratmansky and Wheeldon are now also looking to the past in their attempts to usher ballet into the future.
It is impossible not to see on Ratmanksy’s 24 Preludes the influence of Jerome Robbins’s Dances at a Gathering (1969). Both are substantial, single-act, bare-stage collections of emotionally mercurial vignettes for a small ensemble in many permutations, nominally abstract but teeming with evanescent and human liaisons, and playing out to Chopin.
Neither Jean Françaix’s orchestration of this great 1839 piano work nor the metallic sheen of the girls’ dresses can hide 24 Preludes’ debt to Robbins. But, during sheer choreographic bravura, the part works. A pure but creative classicist with an instinctive musicality, Ratmansky has here created an engaging confection that plays shrewdly to its first-cast’s strengths, even if some shine more brightly than others.
Steven McRae has seldom soared or spun more athletically than in the “Presto”, Alina Cojocaru’s lightness and speed make her a fantastic “Dragonfly”, and Zenaida Yanowsky and Ed Watson’s long-limbed capacity for drama is expertly exploited, too. Nor was there a wittier moment on Friday than Watson leaving the stage, Leanne Benjamin in his arms but also dragging a beaming Cojocaru behind him.
Tags: Mark Monahan, reviews, Royal Ballet's new director in Covent Garden.
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February 27th, 2013
In January 2012, Sergei Polunin, one of the most famous male dancers of his generation, dramatically walked out of the Royal Ballet, amidst tales of profound disillusion with both the company that had been his home from the time when he’s in his boyhood and with the real art of ballet itself.
In April, one of the company’s most shining ballerinas Tamara Rojo left, in a rather more decorous manner, to take up the directorship of the English National Ballet. So this show of Frederick Ashton’s Marguerite and Armand marked the return of both dancers to the Royal Opera House stage. For Polunin, now based in Russia, it is hopefully the start of many guest appearances; for Rojo it was a farewell.
These situation were enough to make the evening an event. It was made more so by a performance of such dramatic intensity that the audience sat in silence, as if scared to breathe. Ashton turned the story of the tubercular courtesan Marguerite into a one-act ballet, set to Liszt, designed by Cecil Beaton, to show off the partnership of Margot Fonteyn and Rudolf Nureyev; its headlong rush from first love to deathbed settlement requires dancers of similar charisma.
In Polunin and Rojo it has them. Polunin’s talent doesn’t just lie in the sophistication of his arabesques, the speed of his pirouettes, or the height of his jump – all of which are fully displayed here – but in the way he can make you believe he is living the part as he’s acting.Here he traces Armand’s story with spellbinding clarity: his stillness when he first sees Marguerite, the ferocity of his public renunciation of her, the tenderness of his love – each step has meaning. His passion is more than matched by Rojo, whose emotions are not only etched on her face, but in every muscle of her expressive body. She is simply wonderful
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February 21st, 2013
America’s best dance crew also known as ABDC, is an American spirited dance reality show in television(MTV) that attributes for dance crews, from the united states and around the world. It was produced by American Idol judge Randy Jackson and the series was initially developed for NBC as World Moves. It was cancelled due to poor ratings, after seventh seasons. This show presented by randy Jackson and hosted by Mario Lopez in los angels.
It is a good reality show where a dance crew shows their talent initially. Each week, the crews are facing a challenge with new tasks. The themes and other concepts are same for every team but the challenge is different. One important thing in ABDC is the crew banner. . Each banner’s logo represents their crew, appearing during interviews, performances, and various products. It is also used as a transition effect. When a crew is eliminated, their banner falls from the top of the stadium, where the banners of the crews still in the running stand.
The opponent get to dance one final time on the stage as they “walk it out” to the song of the same name. If a crew is eliminated from the sixth place mark (fifth in Season 4, 5, and 7), the show will play a compilation video of their journey on ABDC.
The judges decide which crew will qualify for the next round after finished their performance. In the beginning each episode they are telling which crews are safe and which crews are at risk for elimination.
The winner of ABDC crew will be getting $100,000 (USD) grand prize with the Golden ABDC Trophy (a golden statue of a B-Boy doing a freeze, with the legs moving like a bobble head). They were playing up to seven seasons still.
Each season has number of rounds which depends upon the themes or tasks. Now they are struggling to continue this program because getting poor ratings due to lengthy seasoning show like season 6 & 7.but this show was running successful till season 4 & 5. Audience only helps us by rating votes to continue the ABDC show again. This show was helping many people by encouraging their talent by dance. Hope you people will help us to start this show again.
Tags: American’s best dance crew, MTV, seventh season
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