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 .

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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.

Pieces of a Dream: Mariscal, Barnet, Hamad, Haring — A New York State of Mind

mariscal for repostingFrom the Arts Voyager Archives: Barcelona-born jack of all arts — notably, comics — Javier Mariscal, as featured at the Galerie Martel, the leading comics art gallery in Paris, and first covered on the DI/AV, in 2011. Image courtesy the Gallery Martel.

By Paul Ben-Itzak
Copyright 2011, 2017 Paul Ben-Itzak

NEW YORK — Wednesday night, 8 o’clock. Our evening starts at the Old Heidelberg, dining with Martha Graham’s complice and legal heir Ron Protas, an accident that wasn’t an accident, because the setting, unplanned, will set the tone.  Once upon a time in New York there were more art critics of mettle who applied real writerly chops to art by artists who were more than clever, for whom technique was just a means and not an end, and who needed critics with chops to interpret the new art they were creating. One particular critic, John Leonard, started out as a novelist, beginning with “The Naked Martini,”  whose hero, Brian Kelly — another writer with New York City dreams created by a writer with New York City dreams — would wrap up a day of toil in the advertising houses of “the Lexington Avenue foothills” with a mug of dark beer, a kielbasa, and a proposal of marriage to the Old Heidelberg barmaid inevitably named Helga, swigging the cheap but hearty hops from his corner window table looking out (in the book) at York Avenue, somewhere around 86th. (Our waiter tells us the Heidelberg has been at its current location, 2nd just below 86th, since 1963; before that it was somewhere on or around 86th; Leonard’s book was published in 1965.) So when the pitcher-sized ‘mug’ of dark beer arrives, I propose a toast to John Leonard, his ghost still sitting in the corner, but it might as well be a lament, a dirge for a city of ghosts, where visual art by dead artists is usually more interesting than that created by the artists who can still afford to live in Michael Bloomberg’s New York Version 2.011, where we are told not to worry that the rent stabilization laws just expired, the last barrier to the complete Bobo-ization of New York crumbling with little sounding of the alarm.

To receive the complete article, first published on June 18, 2011, including more art, subscribers please contact publisher Paul Ben-Itzak at paulbenitzak@gmail.com. Not a subscriber? Subscribe to the Dance Insider & Arts Voyager for just $29.95/year ($99 for institutions gets full access for all your teachers, students, dance company members, etc.) by designating your PayPal payment in that amount to paulbenitzak@gmail.com, or write us at that address to learn how to pay by check. Subscribers receive full access to the DI/AV Archive of 2,000 exclusive reviews by 150 leading critics of performances and art on five continents from 1998 through 2015. You can also purchase a complete copy of the Archives for just $49 (individuals) or $109 (institutions) Contact Paul at paulbenitzak@gmail.com.

New York (and Keith Haring) Forever

haring for repostingKeith Haring, “Untitled,” 1982. Private collection. Vinyl paint on vinyl tarp, 304.8 x 304.8 cm. © Keith Haring Foundation. From the Dance Insider & Arts Voyager Archives. First published on the DI & AV on May 5, 2013, Keith Haring’s birthday, as part of its coverage of the exhibition Keith Haring: the Political Line at the Modern Art Museum of the City of Paris.

Haring & East Village @ MoMA

moma haring smallFrom the exhibition Club 57: Film, Performance, and Art in the East Village, 1978–1983, on view at the Museum of Modern Art from October 31 through April 1, 2018: Keith Haring, Acts of Live Art at Club 57, 1980. Photograph by and copyright Joseph Szkodzinski. Courtesy the artist.

Love, Art, & Death in the Time of Cholera: Haring fleshed out at Gladstone; Vega’s skin-deep McCullers

haring-jonesKeith Haring’s “Red” (detail), as viewed at the Gladstone Gallery, 1982-1984. Gouache and ink on paper. Complete work 106 3/4 x 274 inches (271.1 x 696 cm). ©Keith Haring Foundation. Courtesy Gladstone Gallery, New York.

By Paul Ben-Itzak
Copyright 2011, 2017 Paul Ben-Itzak

NEW YORK — “These are markers,” Bill T. Jones was telling me. We were at last Wednesday’s opening for the Gladstone Gallery’s ambitious exhibition of the three mammoth works Keith Haring painted in real-time during a series of performances by the Bill T. Jones / Arnie Zane Company in 1982, as well as two long display cases packed with drawings taken from Haring’s notebooks, including a couple of dozen sketches of penises, most poignantly several under which the artist has written, “Drawing penises in front of Tiffany’s.” Jones looked from tableau to tableau, reflected, and added: “I’m a marker.” Only Bill T. Jones can say this without seeming ostentatious or self-important. What he meant is that, like Haring and like the affliction they shared, the one ultimately succumbing and the other surviving, still here, he signified the artistically audacious and personally daring gestalt of a certain New York epoch. Where he was being unfair to himself, though, was that his tone implied the word *was*, and of the three iconic signifiers of the ’80s NY art scene I encountered last Wednesday meandering from Gladstone’s vast Chelsea gallery near the Hudson to the intimate Rattlestick Theater on Waverly Place, where Suzanne Vega was holding court as Carson McCullers, or pretending to, Jones was the only one who was of his time without being trapped in it. That said, with this courageous exhibition, Barbara Gladstone has liberated Haring from the sanitized version that has been passed down to us in the two decades since his death from AIDS-related illnesses in 1990, at the age of 31. If Jones is “Still / Here,” thanks to Gladsone, Haring is here again, in his full unadulterated glory.

To receive the rest of the article, originally published May 9, 2011, including additional art by Keith Haring, subscribers can contact publisher Paul Ben-Itzak at paulbenitzak@gmail.com. Not a subscriber? Subscribe to the Dance Insider and Arts Voyager for just $29.95/year ($99 for institutions gets full access for all your teachers, students, dance company members, etc.) and receive full access to our Archive of 2,000 exclusive reviews by 150 leading critics of performances on five continents from 1998 through 2015. Just designate your PayPal payment in that amount to paulbenitzak@gmail.com, or write us at that address to learn how to pay by check or in Euros. You can also purchase a complete copy of the Archives for just $49 (individuals) or $129 (institutions) Purchase before February 14, 2017 and receive a second, free copy for the recipient of your choice. Contact Paul at paulbenitzak@gmail.com .