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The Talk
FEATURES | Di Jonelle Seitz

The Talk

“We invite you to stay for a post-performance conversation”—these are dividing words. After a recent performance, all but one of my seatmates—several friends and acquaintances—decided against staying. I wavered for a minute as I considered keeping my friend company and the possibility of hearing the choreographers and performers discuss their processes, inspirations, and attachments—all interiors that I love. But in the end I joined the exodus, citing my own rule not to attend post-performance talks for shows I am reviewing, in service of my oxymoronic goals of maintaining objectivity and developing a singular, personal response to the work.

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The Cult of Fragility
FEATURES | Di Sara Veale

The Cult of Fragility

One of the greatest challenges—and for me, joys—of being a dance critic is navigating the not infrequent clash between contemporary values and those embraced in classical ballet, a centuries-old institution that venerates ‘tradition’ in all its old-world, patriarchal glory. How should a world increasingly concerned with racial diversity respond to an establishment that in 2015 remains overwhelmingly white? How can an art form that worships prescriptive gender roles address the growing call for LGBT inclusivity? What messages of value can women divine from stories that glorify female fragility and are primarily written and directed by men?

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Fjord Review
FEATURES | Di Apollinaire Scherr

Between the Dancer and the Dance

I want to find dance’s “fundamental feature” [note]Camera Lucida: Reflections on Photography (abbreviated CL). Translated from the French by Richard Howard. (New York: Farrar, Straus and Giroux, 2010 paperback edition), 9[/note] as Roland Barthes, in his 1980 Camera Lucida, did for photography. [note]Please see essay #1 of “Between the Dancer and the Dance” for what the French critic Roland Barthes has to do with anything. [/note] I’ll begin, like him, with the peculiar mechanism by which the idiom (photography for him, dance for me) transmutes its raw material into art. The machinery, if not the alchemy, of sign-making, as the...

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Between the Dancer and the Dance
FEATURES | Di Apollinaire Scherr

Between the Dancer and the Dance

Six years ago, when I began teaching at the Fashion Institute of Technology for applied and not-so-applied arts, the professors hiring me asked if I might like to try my hand at a course that prepared graphic design students for the workplace—or at least got them in the door.

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A Month in the Country
FEATURES | Di Stephanie Jordan

A Month in the Country

In the following essay, Stephanie Jordan elucidates the method and meaning of the music selected for Frederick Ashton's “A Month in the Country” It comes from Following Sir Fred's Steps - Ashton's Legacy, the published proceedings of the conference on the choreographer and his work, held at Roehampton University in 1994, and edited by Stephanie Jordan and Andrée Grau. This essay is expanded upon in Stephanie Jordan's 2000 publication, Moving Music: Dialogues with Music in Twentieth-Century Ballet (London: Dance Books), pages 245-64.

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