June 11, 1998: Birth of a dance magazine

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“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 paulbenitzak@gmail.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.

Your turn.

— 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 paulbenitzak@gmail.com . 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 paulbenitzak@gmail.com, or write us at that address to find out about payment by check or in Euros .

Sao Paolo s’impose / Sao Paolo, in French debut in Lyon, carves out in its niche

Sao Paolo 2 Luiza Yuk e Vinícius Vieira em Céu Cinzento, de Clébio Oliveira Foto_JulianaHilal

Haven’t yet subscribed to the DI? This week you’re missing Anne-Charlotte Schoepfer’s coverage, in French and English, of Sao Paolo Dance Company’s  French debut at the Maison de la Danse in Lyon, featuring, above, Vinícius Vieira and Céu Cinzento in Clébio Oliveira’s “Cinzento,” photographed by Juliana Hilal. DI subscribers also receive, from the DI’s 20-year archives of  more than 2,000 exclusive articles by 150 writers related to performances on five continents, Paul Ben-Itzak’s exclusive 1995 interview with the late Uwe Scholz, one of the choreographers featured in the company’s performance. 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 paulbenitzak@gmail.com, 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.

Back to the Future: How to access stories on the Dance Insider & Arts Voyager

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 paulbenitzak@gmail.com, 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.

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From the Archives: Is Ballet Irrelevant?

Lines Ballet at Yerba Buena CenterLines Ballet in Alonzo King’s “Sand.” Photo copyright Chris Hardy and courtesy Maison de la Danse.

“Things based on a universal truth can never be irrelevant. Ballet is based on universal themes. The same things that informed Copernicus, that informed geometry inform ballet. Most people think of ballet as a style, and they connect that style with 17th-century romanticism. They don’t realize that ballet is not a style, it’s a science of movement. It can be manipulated and explored in a million ways — it’s inexhaustible.”

— Alonzo King, director and founder, Lines Ballet. From the inaugural Summer 1998 print issue of the Dance Insider. Subscribe to the DI with PayPal for just $29.95/year by designating your PayPal payment to paulbenitzak@gmail.com, or write us at that address to find out how to subscribe by check, and get full access to the Dance Insider & Arts Voyager’s 20-year Archive of more than 2000 exclusive reviews by 150 critics of performances and art from five continents, plus the Jill Johnston Letter. The Dance Insider. Giving a voice to dancers and telling stories not told elsewhere for 20 years.

Women aren’t just victims, IV: From Gaza to the World Stage — Nidaa Badwan’s Freedom-forging Odyssey

nidaa badwan100 Days of Solitude: Nidaa Badwan in her room transformed into studio in 2015. Photo by and courtesy Nidaa Badwan.

By Paul Ben-Itzak
Text copyright 2017 Paul Ben-Itzak

(Please join Nutmeg Conservatory Ballet,  Freespace Dance and and Slippery Rock Dance in sponsoring this article and the Dance Insider/Arts Voyager by designating your donation via PayPal to paulbenitzak@gmail.com , or write us at that address to learn how to donate by check. Please tell us our work matters.)

When we last checked in on Palestinian artist and photographer Nidaa Badwan in 2015, she’d just created the photography project 100 Days of Solitude, in which she’d transformed her nine-square meter room in Gaza into a pin-hole camera with a kaleidoscopic view, the 28-year-old’s response to Hamas’s releasing her from jail after eight days only after she signed a statement agreeing to only go outside with her body fully covered and accompanied by her father or brother — using imagination to spark creation and sequestration to produce liberation. (Badwan remained in this self-imposed quarantine from late 2013 through early 2015.) “This space,” she told the television station France 24 at the time, “gave me the freedom that I couldn’t find outside — a freedom from the dullness and ugliness of Gaza, from the Israeli siege, from the impositions of the men of Hamas.” If this inventively courageous response was not a complete surprise — Badwan even refused to leave her home during the 2014 Israeli bombing of Gaza — the happy ending that followed was.

Nidaa rooster smallDescribing the impetus behind what she considers her most important photograph, part of the series 100 Days of Solitude, Badwan explains: “In Arabic symbolism, the rooster represents the man. It’s a masculine energy that wants to silence me. I have an Oud with me, a Middle-Eastern instrument. With my gesture, I invite the rooster to shut up and let me be free to express myself and my art.” Photo by and courtesy Nidaa Badwan.

If Israel had refused to authorize her to leave Gaza to attend an exhibition of 100 Days of Solitude organized by the Institute Française in the West Bank town of Ramallah, Badwan was eventually able to depart, in September 2015, when the Italian municipalities of Monte Grimano Terme and Montecatini Terme invited her to share her works and protest and, later, when she expressed her concern about her security if she returned to Gaza, welcomed by the tiny Republic of San Marino.  In April of this year, the Italian municipality of Monte Grimano Terme offered her own atelier to create art and to organize animations for the public.

Badwan’s artistic itinerary since leaving Gaza, meanwhile, has included, in 2016 alone, collective and individual exhibitions in Denmark, Berlin, the French commune of Couthhures-sur-Garonne (for the Festival Internationale du Journalisme Vivant), Dubai, Miami Beach, and New York’s Postaster Gallery, often in group shows where she’s been surrounded by a choice selection of the leading young Arab (and young, period) artists. Meanwhile, the World Bank  in Washington acquired six of her works. She capped the year back in San Marino by participating in an evening dedicated to the theme of autism in which she displayed four paintings created by Abood, her autistic brother, and four of her own inspired by him, part of a planned  solo exhibition on the theme featuring more work.  “Along with me,” she recounts, “there was an autistic boy, very young, who played Chopin. It was an indescribable and marvelous evening.” Badwan’s comments to the assemblage should be required reading for every Beaux Arts student:

“My brother is nine years younger than me, has autism, and lives in Gaza. Stepping into this world and exploring it from within is a rich and unique experience. To penetrate the meanderings of this situation is neither difficult nor easy. Abood needs nothing. He doesn’t need words — he only needs a piece of paper and a pencil. He draws his own world, and usually he asks me: ‘How do you find it?’ To his question, I spontaneously reply: ‘Nice! I want to see more.’

“As time went by, I started to observe and interpret what his drawings revealed. In his works, there are many crying faces, usually smoking a cigarette and surrounded by curvy patterns. A sole fragment of a painting can harbor the contradiction between sadness and happiness. Abood has battled with solitude, the same feeling I experienced for two years. During my isolation, he would wait by the door to make me a surprise with a handful of drawings he made around midnight. Every time he saw me crying, he would give me a new painting. He knows that this makes me vibrate. I imitate what he does; I can follow the curvy patterns and draw like he does. I needed more of these sketches, and even more. I became autistic just like him, learning how to walk through his world. I learned how to speak to him, how to make mistakes in the sentences’ structures and to mutter when I speak. This world is very rich, if the poor ones like us know the truth.”

nidaa badwan new room smallNidaa Badwan in her studio in the Italian village of Monte Grimano Terme: “New Room.” Photo courtesy Nidaa Badwan.

Since the beginning of this year, Badwan has already participated in two exhibitions in Italy, taken part in a collective exhibition in the United States, and addressed the UNESCO conference “Cultural Heritage and Identity: an Arab Youth Perspective” in Carthages, Tunisia. She inaugurated her studio in Monte Grimano Terme in May, in the presence of the mayor, the former education and culture minister of San Marino, and Palestine consul for Italy Nidal Thawabi. In June she participated in both the White Nights of the University of San Marino, creating a sculpture in real-time on the theme of femininity, and the collective exhibition “Ri-crazioni” in Prato, Italy. Through January you can catch her exhibiting with (fellow) revolutionary Arab artists in Valencia, Spain, at the Institut Valencià d’Art Modern and at the “En Rebeldía” and, currently, in a touring version of this show on display in Berlin’s Gorki Theater.

This flurry of activity doesn’t mean that Badwan doesn’t miss her nest in Gaza, where her family still lives. As for  the butterfly emerged from its cocoon, the outside world can be as daunting as it is exhilarating. “When I was in Gaza,” she tells me, “I had a small space, my little world, but I had an infinity of ideas in my head. I could only spin the world with my mind.” She was confident that “this was my world, and I could do what I want. Now, paradoxically, I have all the freedom I want to turn and create in a vast space, like the world, but I do not have my ‘world,’ ‘my’ space where I can be quiet no one can tell me to ‘go away’ if I do not pay rent,” and does not have to think about things like changing her immediate environment.

Still, I can’t help but think that Badwan’s changed circumstances must be liberating. If her previous situation inevitably made her simple act of creating art be perceived as an act of ‘defiance’ by journalists (not to mention polemicists), she’s now escaped from the box and free to find her path without the constraints of her politically loaded identity. All the better.

“I do not define myself as a political artist,” she says, “and I would not like to be. I prefer to leave politics to politicians and to the Press. Of course, I personally have my own ideas, but art and politics should not be confused, though sometimes this may happen. For me art speaks of experiences directly lived, interior and exterior. That particular experience came to me. If anything else had happened, I might have talked about something else or in another way.”

For more information on Nidaa Badwan, including more examples of her work — and to keep up with her ever multiplying cavalcade of exhibitions — check her web site.