Champion of the eight-hour, unbutchered version of Sergei Eisenstein’s “Que Viva Mexico,” art critic and essayist, avid collector of the photographers Walker Evans and George Platt Lynes, ardent admirer of the sculptures of Elie Nadelman and Gaston Lachaise, Lincoln Kirstein was much more than the co-founder, with George Balanchine, of the School of American Ballet. A font and funder of the New York Modern Art scene, he fervently acquired Latin American art for the Modern Art Museum, notably by Antonio Berni and Raquel Forner. Now Lincoln Kirstein, Patron of the Arts is finally getting his due, in an exhibition running March 17 through June 30, 2019 at MoMA and featuring more than 200 works, including, above, Paul Cadmus (American, 1904–1999), set design for the ballet “Filling Station,” 1937. Cut-and-pasted paper, gouache, and pencil on paper, 8 × 10 7/8″ (20.3 × 27.6 cm). The Museum of Modern Art, New York. Gift of Lincoln Kirstein, 1941. © 2018 Estate of Paul Cadmus.
This week exclusively on the Dance Insider e-mail list: Anne-Charlotte Schoepfer writes about the Conservatoire National Supérieur de Musique et de Danse de Lyon’s Maison de la Danse performances of Stéphane Delatre’s “Her Body is a Cage,” excerpts from William Forsythe’s “The Vile Parody of Address,” and (above), conservatory director Davy Brun’s “LAK.” DI subscribers receive the entire review in French and in English, plus art. Not yet a DI subscriber? To subscribe to the DI and access both this new content and 2,000 archived stories by 150 writers covering 20 years of performances and art on five continents, plus five years of the Jill Johnston Letter, for just $39.95/year individuals or $69.95 institutions, just designate your PayPal payment in that amount to firstname.lastname@example.org, or write us at that address to find out about payment by check or in Euros. (In the latter case, the payments will be directed to our European correspondents.) You can also contact us at that address to find out about limited, well-integrated e-mail advertising options. Sarah Lowicki photograph courtesy CNSMD.
“Never doubt that a small group of thoughtful, committed citizens can change the world.”
— Margaret Mead, cited on the back cover of Issue #1 of The Dance Insider, Summer 1998
“Dance writing shouldn’t hide backstage, but should join in the wider cultural critical dialogue.”
— Dancer Z, inaugural issue, The Dance Insider
Please help us celebrate our 20th anniversary by subscribing to the DI today, for just $29.95 / year, or making a donation. Just designate your payment through PayPal to email@example.com, or write us at that address to find out about payment by check. Subscribers get access to our DI Archives of more than 2,000 exclusive reviews by 150 writers of performances, films, art exhibitions and more from five continents, as well as our five-year Jill Johnston and extensive Martha Graham archives, plus new articles. Subscribe by June 24 and receive a free photo ad.
On June 11, 1998, in SoHo, New York City, a new dance magazine was born, printed on 100% recycled paper paid for by the Eddy Foundation: The Dance Insider, with founding editor Veronica Dittman, founding publisher Paul Ben-Itzak, and a stable of professional dancers, journalists, and photographers, notably Jamie Phillips and Robin Hoffman. Features editor Rebecca Stenn provided the model of the dancer-writer and choreographer-educator Sara Hook the brain trust. Eileen Darby eventually became our senior advisor. Officially launched later that month at (and graciously hosted by) the American Dance Festival in Durham, North Carolina, the issue featured original cover and back cover photography by Phillips of Pilobolus Dance Theater performers Rebecca Anderson, Mark Santillano, and Gaspard Louis. (The Pilobolus connection having been secured by Pils alumna Rebecca Jung.) Our mission (besides going where no dance magazine had gone before): To give a voice to dancers, to tell stories not told elsewhere, and to build the dance audience. The content included:
** Insider Picks of upcoming performances by the Hamburg Ballet, whose artistic director, John Neumeier, confided in the DI, “The most successful ballets, if they are stories…, are stories we cannot retell — just as it is very difficult to tell what you dreamt last night”; ODC / San Francisco; and, at Jacob’s Pillow and the ADF, respectively, Joanna Haigood and David Grenke, the latter of whom explained to the DI: “All of this stuff comes out of my body, and then it’s a matter of having it make sense to other people.”
** An Insider Forum in which Joffrey Ballet star and choreographer Christian Holder, American Ballet Theatre principal Ethan Stiefel, Joffrey alumna Hoffman (at the time in-house notator with the Paul Taylor Dance Company), Ben-Itzak, and moderator Veronica Dittman debated the question: “Is ballet irrelevant?” The article also featured interviews with Lines Contemporary Ballet director Alonzo King and Kennedy Center president Lawrence J. Wilker, and was illustrated with photography by Marty Sohl and Weiferd Watts.
** Insider News, illustrated with photography by Roy Volkmann of the Alvin Ailey Dance Company’s Mucuy Bolles and Don Bellamy, on personnel changes, promotions, guest appearances, and upcoming performances by the Ailey, Dallas Black Dance Theater, Mark Dendy, the Frankfurt Ballet, and Hamburg Ballet, plus labor strife at the Martha Graham Dance Company. Contributors to the section included recently retired Ailey star Elizabeth Roxas, the DI’s modern dance editor.
** “Fear and loathing with the fungus,” PBI’s inside report from Washington Depot, Connecticut, on the creation of Pilobolus’s collaboration with laureated jazz composer and big band leader Maria Schneider, who told the DI after one session with the dancers and the choreographic triumvirate of Robby Barnett, Jonathan Wolken, and Michael Tracy, “You get the feeling they all want something different….” The article was accompanied by a Pilobolus lexicon, more photography from Philips featuring Anderson, Louis, Santillano, and Trebien Pollard, and a first-hand report from an audition for Momix, the company of Pilobolus co-founder Moses Pendleton.
** An interview with Donald McKayle on the occasion of his 50th year in dance, illustrated with a photograph of McKayle and Carmen De Lavallade performing the former’s “Rainbow ‘Round my Shoulder” provided by fabled archivist Joe Nash and ADF. “When you find the linkage between dance and story,” McKayle told the DI, “you have found something very rich.” The article offered an exclusive excerpt of McKayle’s upcoming autobiography.
** “Inside Presenting,” sub-titled, “From the cradle to the grave, new ways to build your audience,” and featuring interviews with Wilker, ODC co-director KT Nelson, Pacific Northwest Ballet co-founder Francia Russell, Walker Art Center director Philip Bither, and many others, and illustrated with Keith Haring’s body painting of Bill T. Jones. The article was accompanied by a side-bar by Stenn recounting her experience performing for and teaching children on behalf of Pilobolus.
** A farewell to San Francisco Ballet diva Evelyn Cisneros, with a review by Aimee Ts’ao of Cisneros’s swan song and a tribute by Cisneros’s colleague (and DI education editor) Edward Ellison.
** An exclusive interview with flamenco legend Lola Greco on her controversial departure from the National Ballet of Spain.
** Dittman’s unique perspective on a performance by American Ballet Theater: “It is truly heartening to be reminded that there is still plenty in the world of dance, where lately I’ve seen only paucity.” (Harald Landers’s “Etudes” did not fare so well.)
** The DI’s inaugural issue terminated with a manifesto from “Dancer Z,” the nom de plum of a busy NYC modern dancer. Analyzing the current critical landscape, Dancer Z wrote: “The mere reportage of events which comprises most dance reviews seems directed towards the audience member who fell asleep and missed what happened on the stage, or for the viewer who seeks a poetic recapitulation.” Dancer Z terminated with an appeal and formula which the DI would adopt a year later when it began publishing online Flash Reviews of performances, most written by active dance artists:
“I want opinions, I want comparisons, I want meaning. Dance needs to be talked about not only in the context of its own history and trends, but in conjunction with trends in other art forms. I would like to read reviews which attempt to identify dance’s place in the constellation of ideological, economic, social, and aesthetic influences involved in its creation. Dance writing shouldn’t hide backstage, but should join in the wider cultural critical dialogue.
“I want to feel that writers are not only watching dance, but are asking the questions which need to be asked, drawing the parallels that need to be drawn, and fueling the wheel that struggles always to turn. In providing the push, the next challenge, or simply the truth, dance writers can be more involved in gathering and preparing the audiences of the future. Through writing which looks at dance in a larger context and acknowledges it as a citizen of the world capable of the responsibility which that invovles, dance can find the bridge to understanding itself and making itself understood, a connection imperative to its growth and ultimately, its survival.”
In other words, as Skoop Nisgar said: If you don’t like the news, go out and make some of your own.
Which the DI did.
— Paul Ben-Itzak
DI subscribers who would like to receive text versions of any of the above stories from the DI’s inaugural Summer 1998 print issue, please e-mail DI publisher Paul Ben-Itzak at firstname.lastname@example.org . DI subscribers also receive access to the DI’s 20-year archives of more than 2,000 exclusive articles by 150 writers related to performances, films, and exhibitions on five continents. Not yet a subscriber? To subscribe, for just $29.95/year individuals or $49.95 institutions, just designate your PayPal payment in that amount to email@example.com, or write us at that address to find out about payment by check or in Euros .
Returning to its roots as a Direct E-mail List — as the most effective, efficient way to serve our subscribers, writers, advertisers, and readers — the DI will heretofore make all new content, as well as reprints from our 20-year archive of more than 2,000 exclusive reviews by 150 writers of performances on five continents, plus news, commentary, art, and the Jill Johnston Archive, available strictly by e-mail. To subscribe to the DI and access both this new content and archived stories, for just $29.95/year individuals or $49.95 institutions, just designate your PayPal payment in that amount to firstname.lastname@example.org, or write us at that address to find out about payment by check or in Euros. (In the latter case, the payments will be directed to our European correspondents.) You can also contact us at that address to find out about limited, well-integrated e-mail advertising options.
Celebrating 20 years as the Internet’s longest-running arts magazine and the leading voice for the dance profession and serious students, the Dance Insider & Arts Voyager is now offering Home page ads with photos starting at just $49/month when you sign up by May 7. Contact email@example.com for more information to join Freespace Dance (top), Slippery Rock University Dance (above), and others in sponsoring the Dance Insider & Arts Voyager.
To commemorate the centennial of the death of Edgar Degas (1834-1917), through Sunday the musée d’Orsay has organized an exhibition that juxtaposes paintings, pastels, and drawings from the Impressionist artist and others with “Degas Danse Dessin,” published in 1936 by the art dealer Ambroise Vollard. Accompanied by 26 hors-textes reproductions of Degas’s graphic work, the luxury edition was written by French poet Paul Valéry (1871-1945). “Degas is one of the rare painters to lend the floor its own importance,” Valéry noted. “He has admirable planks. At times, he views a dancer from high up, and her entire form gets projected on the plane of the plateau, like seeing a crab on a beach.” Edgar Degas (1834-1917), “Dancers,” also known as “Group of Dancers,” between 1884 and 1885. Pastel on paper, 78.3 x 77.2 cm. Paris, Musee d’Orsay, RF 51757. © Musée d’Orsay Dist. RMN- Grand Palais / Patrice Schmidt. Courtesy Service Presse / musée d’Orsay.
To commemorate the centennial of the death of Edgar Degas (1834-1917), through Sunday the musée d’Orsay has organized an exhibition that juxtaposes paintings, pastels, and drawings from the Impressionist artist and others with “Degas Danse Dessin,” published in 1936 by the art dealer Ambroise Vollard. Accompanied by 26 hors-textes reproductions of Degas’s graphic work, the luxury edition was written by French poet Paul Valéry (1871-1945). “There’s an immense difference between seeing something without the pencil in hand, and seeing it in drawing it,” Valéry observed. “Or rather, one sees two different things. Even the most familiar object to our eyes becomes something completely different, if one proceeds to draw it; we realize that… we never really saw it.” Edgar Degas (1834-1917), “Dancer.” Drawing featured in Paul Valéry’s “Degas Danse Dessin,” published by Ambroise Vollard in 1936. Paris, musée d’Orsay. © Musée d’Orsay, Dist. RMN-Grand Palais / Patrice Schmidt. Courtesy Service Presse / musée d’Orsay.