What remains of Kyiv’s tango community is looking forward to Saturday night event
Air raid sirens were near constant and Russian troops were on the outskirts of the city, but that didn’t stop some people in Kyiv from dancing.
A group of Ukrainian tango dancers wrapped up warm against the freezing weather to meet in the botanic gardens: they circled around each other to an Argentinian milonga, embracing and laughing with relief to see those around them were still alive.
Continue reading...Native Hawaiian musician to be depicted in 2023 as part of program honoring eminent American women
The late Native Hawaiian hula teacher Edith Kanaka’ole is among five women who will be individually featured on US quarters in 2023 as part of a program that depicts notable women on the coins.
The US Mint described Kanaka’ole, who died in 1978, as a composer, chanter, dancer, teacher and entertainer.
Continue reading...Prince Charles was a patron of trust set up by friend of Putin to back the Russian Mariinsky theatre
A UK charity set up to support one of Russia’s oldest theatres has closed. The Anglo-Russian Opera and Ballet Trust, founded in 1992, raised millions for Russian arts organisations and boasted the Prince of Wales as its patron.
The charity was set up by conductor Valery Gergiev, a high-profile friend of Vladimir Putin, with the main goal of supporting St Petersburg’s Mariinsky theatre – one of the best-known cultural institutions in Russia – and promoting its work in the UK.
Continue reading...Basil Matsika hopes his joyful murals of Mbare’s music and sports stars will inspire others to look beyond the area’s poverty and crime
Street artist Basil Matsika paints murals of local musicians and daily life in the streets of Mbare, one of Zimbabwe’s oldest townships, in the capital Harare. With his brush and paint jar, he says he communicates deep sentiments of hope amid the overwhelming landscape of poverty.
While many see Mbare as a crime-ridden neighbourhood, Matsika, 40, chooses to see beauty in the grimy, patched walls of the Matapi flats, which have become his canvas for his giant murals.
Continue reading...Tugan Sokhiev resigns without stating his position, saying he could not choose between ‘my beloved Russian and beloved French musicians’
The Bolshoi Theatre’s music director and principal conductor Tugan Sokhiev announced his resignation Sunday, saying he felt under pressure due to calls to take a position on the Ukraine conflict.
The Russian said in a statement he was resigning “with immediate effect” from his post at the Moscow theatre, as well as his equivalent position at France’s Orchestre National du Capitole de Toulouse.
Continue reading...Concerts, dance recitals and exhibitions have been postponed indefinitely after Vladimir Putin’s invasion of Ukraine
The Russian invasion of Ukraine has prompted responses from the cultural sphere, with Russian artists and companies beginning to feel the repercussions of decisions taken by the Kremlin. Not only has Russia been stripped of two prestigious events – the Champions League men’s final and Formula One’s Russian Grand Prix –but an increasing number of performances by Russians are being cancelled worldwide.
Continue reading...With breakdancers, artists and parkourists facing a bleak future under the Taliban, a global network stepped in to help, drawing on the activist spirit of rap culture
A veteran of the hip-hop scene and internationally celebrated breakdancer, Nancy Yu – AKA Asia One – has her fair share of people contacting her looking for advice. But the message she received in 2019 from a young Afghan was a little different.
Frustrated by his breakdancing crew’s inability to get visas to perform internationally, Moshtagh* was wondering if Asia could help. “He felt they were really good, but they felt, like, invisible to the world,” she says. “I liked him. He wasn’t trying to bug me or say ‘we need this right now’ … He seemed rather humble and honest.”
Continue reading...With references ranging from drug users to the Japanese avant garde, Tom Heyes has transcended a dull life in the north-west through explosive choreography and streams of consciousness
First emerging as a surrealist reaction to the horrors of the second world war, the Japanese art of butoh incorporates violence, sacrifice and bodily mutilation: a captivatingly intense form of performance described by its founder Tatsumi Hijikata as the “dance of utter darkness”.
For a teenage Tom Heyes, growing up in dreary, small-town Lancashire, it was an escape from the abject mundanity of his life. “When I was first starting out I didn’t really view it as performance art. It was just me being fucked up in my bedroom,” he says, reflecting on his early interpretation of the craft which drew as much from donk (the north-west’s spin on hardcore dance) as it did the Japanese avant garde. Often he would be left bruised and bloodied from these punishing dance routines, “but those ones back then were the most raw shit ever”, he insists.
Continue reading...A centuries-old outdoor folklore ceremony featuring singing, dancing, costumes and crop-blessings, the wassail is having a pandemic-era revival – with witchy reinventions
On a January night in the tiny Herefordshire village of Eardisland, a crowd of hundreds is being led to an orchard down a muddy country lane. Their leaders wear tall hats, garlanded with fruit, feathers and flowers; their faces are a damp, mossy, green; their ankles jingle with bells. It is very dark: the only light comes from a crisp, crescent moon and the flaming torches that men, women and children hold in their hands.
The scene may sound sinister, but there is joy in the air at this crop-blessing wassail, a midwinter folklore ceremony, usually in apple-producing counties, involving singing, dancing and other folk customs. At Eardisland, the Leominster morris – they in the extravagant hats, plus flowery jackets made from old bedsheets and curtains – pour cider made from last year’s apples on to tree roots, hang toasted bread on tree branches to tempt the spirits, and light fires to represent renewal and the coming spring sun. The mood is jolly. “I’ll hopefully not set my leg on fire,” says the announcer, Josh Johnson, to laughter, before stamping flames out.
Continue reading...Actor’s achievements helping others embrace deaf identity and pursue passions on own terms
Amid all the noise, glitter and razzle-dazzle, the most iconic moment of this year’s Strictly Come Dancing took place in complete silence. The music paused for several seconds while deaf actor Rose Ayling-Ellis and her dancing partner Giovanni Pernice continued to glide elegantly across the floor.
The dance was intended as a tribute to the deaf community, but it has resonated far more broadly: as well as receiving a perfect score, the couple’s performance has been labelled the “greatest ever” on the show, while an official BBC clip has been viewed 1.7m times on YouTube.
There has been a resounding (silent) cheer for Ayling-Ellis’ success from the deaf community, who see her as a rare on-screen role model capable of inspiring deaf young people, who often struggle with pressures to fit into mainstream schooling, to embrace their deaf identity and pursue their passions on their own terms.
Continue reading...The Royal Ballet’s phenomenal principal dancer was the fixed star at the heart of an extraordinary year for the company
It’s been an oddly fractured year for dance. Repeated lockdowns stifled talent, thwarted new ideas. Online and outdoor offerings provided some release but when theatres reopened in May, dancers emerged as if from hibernation, full of life, anxious to get on with their notoriously short careers.
None more so than Marianela Núñez. The Royal Ballet has excelled as a company this year, but she is the fixed star gleaming at its heart, never disappointing, always moving towards her aim of perfection. Her smile irradiates the stage, but it is the purity of her classical technique, the sense that you are watching someone at the absolute peak of their abilities.
Continue reading...From tap stars duetting with Gene Kelly to Gordon Ramsay twisting with his daughter, TikTok is where performers – large, small, amateur, pro – drop the facade and dance till their toes are raw
TikTok is made for dance. The most popular TikToker – Charli D’Amelio, 17, with 9.9bn likes – is a dancer, or started out as one. And it is the platform that’s launched or spread a thousand dance trends, from the #toosieslide to the #TheGitUpChallenge, via the Floss, the Dougie and the Milly Rock.
Unlike the slick pros of Instagram, or the archive performances on YouTube, TikTok is just about the pure joy of dancing, whoever you are. Size, shape, experience and natural grace are immaterial. It’s essentially the school playground writ very large, the silly routines and memes that used to get passed around, with everyone miming the lyrics to whatever was on Top of the Pops last night.
Continue reading...Chests must be de-fuzzed, armpits shaved, legs waxed. But as dance becomes more diverse, should it stop policing what grows naturally? Top performers speak out about their body hair
The ideal dancer’s body is unrealistic in many ways: bendier than a Barbie, incredibly lean but super-strong, with very particular proportions (in ballet, small head, long legs, short torso, high insteps). And also, it’s hairless. As with swimmers, athletes, gymnasts and others who wear leotards for a living, constant depilation is part of the job.
That goes for men as well as women. “I choose to shave because it gives me a sense of readiness,” says dancer and choreographer Eliot Smith. “I believe it gives me better outlines of the body against the stage lights.” On ballet message boards, it’s not uncommon to find parents of teenage boys asking what to do about hairy legs showing under white tights (wear two pairs of tights, or paint over hairs with pancake are two suggestions, if shaving isn’t an option).
But is there an alternative? When pole dancer Leila Davis was pictured in an Adidas campaign in March showing off armpit fuzz, as well as toned abs, there were plenty of online haters, predictably, but lots of lovers, too. And there are a few – although not many – contemporary dancers who are happy to let their body hair be seen on stage.
“I want it to be normalised,” says Jessie Roberts-Smith, a performer with Scottish Dance Theatre. And independent choreographer Ellie Sikorski sees it as part of a bigger picture. “It’s not the first fight I would pick about the homogeneity of bodies on stage,” she says. “But there’s something archaic in dance – where your body is policed in certain ways. You’re taught not to have agency over your body and body hair is a tiny detail of that.”
Continue reading...Man, 37, said to be killed by falling decor in set change during Rimsky-Korsakov opera
A performer at Moscow’s renowned Bolshoi theatre was killed on Saturday in an accident on stage during an opera, the theatre said.
The Bolshoi, one of Russia’s most prestigious theatres, said the incident occurred during a set change in Sadko, an opera by Russian composer Nikolai Rimsky-Korsakov.
Continue reading...In her new memoir, New York City Ballet’s first Asian-American soloist speaks out about racism and sexual bullying in ballet. Now she wants to overhaul the industry from within
When Georgina Pazcoguin was 19 years old, she went to see a doctor about her thighs. A dancer at the New York City Ballet, Pazcoguin had previously had what was known among dancers as “the fat talk” with the company’s then leader, Peter Martins. During their meeting Martins had told her she didn’t “fit in”, silently indicating the area between her backside and her knees. And so, following a recommendation from a friend, she visited the office of one Dr Wilcox, who told her she should consume no more than 720 calories a day – the recommended number for the average woman is closer to 2,000 – and gave her some sealed packets of powder. For the next four months, she subsisted on the powder, plus a single chicken breast and two pounds of spinach or lettuce, which would make up her evening meal.
“No one wants to be told their body is insufficient,” says Pazcoguin, now 36. “I mean, line is essential in my business; there is a certain aesthetic [that is expected]. But I am not an ectomorph. As a dancer you are staring at your body all day long in a mirror. But to try to intimidate me to make me look like this stick figure? Some women are just born a particular way. And there [should be] flexibility within the ballet world for more body types than just this waif-thin idea.”
Continue reading...Photographer Tommy Trenchard documents students whose stories of transformation at the Hogwarts of South Africa are more than just fairytales
To fans of JK Rowling’s books, the story may sound somewhat familiar: a young boy living in difficult circumstances is enrolled in a mysterious school far from home, where his life is changed for ever by the transformative power of magic.
Anele Dyasi’s story is no fairytale, though, and the school in question is not Hogwarts, but the College of Magic in Cape Town, a unique institution that has been training some of the continent’s most skilled illusionists since the 1980s.
Continue reading...Moulin Rouge performed a full dress rehearsal two days ahead of the reopening of the cabaret following an 18-month closure due to the Covid-19 pandemic. The Moulin Rouge and Le Lido, emblems of the crazy Parisian nights since 1889, will open again on 10 September.
Continue reading...The Russian star brings his take on Bach’s Goldberg Variations to the Proms, having recently torn the piece apart with choreographer Anne Teresa De Keersmaeker. He explains his new, ‘tree-like’ twist
“Like climbing an infinite stairway, one step at a time.” That is how Pavel Kolesnikov describes working on JS Bach’s Goldberg Variations, one of the outstanding releases of last year. On Friday 10 September, he will perform them at the penultimate night of the Proms.
“I’ve never had the chance to dedicate so much quality time to a piece before,” he says when we meet in a tiny cafe in central London. The city has been home since the Siberia-born Kolesnikov, now in his early 30s, came to study at the Royal College of Music. He had grown up listening to recordings of the Goldbergs by Glenn Gould and Rosalyn Tureck, but had never considered performing them himself – “I did not feel I had anything to add”.
Continue reading...The choreographer felt the urgent need to bring happiness and relentless fun to the weekender she has curated for the Southbank Centre’s Summer Reunion series
‘With the year we’ve had, we just needed people to have insanely, intensely engrossing, almost relentless fun,” says choreographer Jade Hackett of the weekender she has curated for the Southbank Centre’s Summer Reunion series. Working with music producer DJ Walde under the umbrella of ZooNation dance company, Hackett is taking over the Thames riverside terrace for a free mini festival, three days celebrating UK hip-hop culture, and just celebrating full stop, having been starved of live shows and social occasions during the pandemic.
“It’s the first stepping stone to reintegration, bringing people together in a really safe way,” she says. “We’ll kick it off with music by Afrika Bambaataa, Earth, Wind & Fire, Stevie Wonder, that’s the vibe; awesome social dances, the electric slide, Soul Train lines, it’ll be super fun.” Audiences can watch dance battles and performances from the likes of female popping collective AIM and Afrobeats dancers HomeBros, but there’s an emphasis on participation, with a series of workshops covering dance from the 70s, 80s and 90s as well as newer styles such as Litefeet. There are daytime family activities and evenings dancing to DJ collective The Midnight Train playing garage, grime, house, R&B, hip-hop and soca – a little carnival fix for those feeling the gap left by the cancellation of Notting Hill carnival for the second consecutive year.
Continue reading...The dance that depends on what Covid prevents – close physical intimacy – is not only a cultural passion but also now a threatened source of income for many workers. Photographer Anita Pouchard Serra, with support from the National Geographic Society, has been documenting how dancers are surviving the crisis
In a pretty little plaza next to a railway track, there is proof that not even a pandemic can keep us apart.
Five couples lean in, cheek to cheek, marking steps that mirror the circuitous route of life. If there is a map, it rises out of a portable speaker, and the melancholic poetry of a tango.
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