Three preludes (Choreographic work : Morris)
Swan lake (Choreographic work). Black swan pas de deux.
Dance Umbrella (Concert series : Boston, Mass.)
Royal Academy of Dancing (Great Britain). United States Office.
Each of both (Choreographic work : Curran)
Sleeping beauty (Choreographic work : Holmes after Petipa, M and Sergeev)
Massachusetts Amateur Ballroom Dancers Association.
University of South Florida. Department of Dance.
Piazzolla caldera (Choreographic work : Taylor)
Dracula (Choreographic work : Stevenson)
Golden age (Choreographic work : De Mille)
My grandfather dances (Choreographic work : Halprin)
Amaya, Flamenco Sin Limites (Dance company)
Eine kleine Nachtmusik (Choreographic work : Josa-Jones)
Yellow wallpaper (Choreographic work : Josa-Jones)
Ballet dancing for children Study and teaching.
Moving Pictures (Festival : Toronto, Ont.)
The Spirit of Dance. Scottish Highland music and dance
Polynesian dance
Spirit of Dance. Festival Nouvelle Danse
The spirit of dance
The Spirit of Dance. Groundwerx Dance Theatre
Fontaine Dubus, a co-founder and artistic director of Exit Dance Theatre, a modern dance company based in Newburyport, Mass., discusses the company's founding, the origin of its name, and its special approach to choreography, which often involves collaboration and improvisation. She describes the qualities the company seeks in its dancers, the music and sources of inspiration for its choreography, its outreach activities in public schools, and its plans for the future. Works seen in video footage are Putting on airs, Vida nostra, Bathroom suite, and an untitled improvisational duet.
After Susan Friedman's summary of the activities planned for National Dance Week, the guests discuss aspects of dancing in the Cape Cod community. They explore reasons for dancing among different age groups (children, mature dancers) and individuals ; the workings of the creative process in different contexts ; sources of inspiration ; choreographers' need for support and recognition. Each of the four guests introduces video footage they have brought for screening: Friedman, scenes from a children's tap dancing class ; Callum, performance excerpts from Sensibilities, a dance work created at Cape Cod Community College, and Mountain view, a videodance work choreographed by Marta Renzi ; Hawkins, an excerpt from a work to Vivaldi's music, created at Cape Cod Community College ; Green, an excerpt from The third river, a work combining oral history and dance, performed by the Back Porch Dance Company.
Discussion of liturgical and sacred dance, beginning with a definition of the terms. After recounting how they got involved with this type of dance ; the guests discuss some notable examples (Jewish dance, Shakers' dance) ; the participation of trained and untrained dancers ; the sacred dance functions of Bharata Natyam and Hawaiian hula ; the activities of the Sacred Dance Guild. Video excerpts depict a liturgical dance choreographed by Mary Jane Wolbers and performed by her students ; Contra la corriente, a dance solo choreographed and performed by Judith Reichsman-Preble ; Web of life, performed by the First Parish Dancers, directed by Naomi Turner ; Natanam adinar (The cosmic dance of Shiva), performed by Matteo.
Discussion of Boston Dance Alliance, the Dance Resource Center, and the Dance Complex, three related dance organizations sharing space in Central Square, Massachusetts Avenue, Cambridge, Mass. Each provides services to the dance community in the Boston area: the Boston Dance Alliance as a network uniting dancers and choreographers ; the Dance Resource Center as a clearinghouse for information ; and the Dance Complex as a source of class, rehearsal and performance space, and a meeting point for artists and community members. Video excerpts include a montage of classes for adults and children at the Dance Complex ; and performance excerpts from Nicola Hawkins's Jane's dream, Richelle Dupont's In Monet's garden, and a shared choreographers' concert co-produced by Hilary Ross.
Dance in college
History
The 25th anniversary of The Yard, a dancers' colony in Chilmark, Mass., on Martha's Vineyard, is celebrated with a look at its past and present achievements. Its executive director, DiAnn Ray, gives an overview of its organizational structure, performances on- and off-island, audition process, and upcoming activities. Patricia Nanon, its founder and artistic director, describes her initial vision of the colony, the struggles of its early years, the expanding scope of its projects, and her vision of the future. Linda Tarnay, Tonya Lockyer, Nicholas Leichter, and Eun Me Ahn share their experiences at The Yard as choreographers and performers. Bessie Schönberg, renowned as a choreographic mentor, discusses the nature of modern dance, the importance of hard work, and the value of The Yard as a center for creativity. In addition to interviews, pre-recorded videos present views of The Yard's physical setting, and performance excerpts of works by Nicholas Leichter and Eun Me Ahn.
Spirit of dance
Conversation on aspects of Scottish and Irish dancing in the U.S. as well as in their countries of origin. Topics include: terms used in Scottish and Irish dancing ; historical influences and political elements ; some individuals and organizations who have helped disseminate Scottish and Irish dancing ; music and musical instruments played to accompany dancing ; dance competitions ; reasons for the resurgence of interest in these dance forms. The program includes video excerpts of a two-hand reel, taught by Sara Ann McLaughlin ; the country dance Mrs. MacLeod, taught by Janet MacKay Young ; a performance of Irish step dancing in Noel Henry's Emerald Room ; and a performance of Highland dancing.
Discussion of Omayra Amaya's dance company Amaya, Flamenco Sin Limites, which seeks to blend flamenco dancing with elements of modern dance, jazz dancing, and ballet. Kavoos Deilamian, a company administrator, describes the historical background of flamenco ; he and dancer Sabrina Aviles discuss the non-traditional nature of Amaya's work. In a pre-recorded interview Amaya talks about her family heritage as Gypsy flamenco dancers ; her studies of other dance forms at Boston Conservatory ; the formation of her own company in 1993, and its goals. She also discusses the different rhythms used in flamenco ; the contrasts between classical and regional Spanish dancing and flamenco ; the improvisational element in flamenco dance and music ; her artistic goals, which include attracting a wider audience for flamenco by demonstrating its universal appeal ; her experience as a teacher in her own studio and elsewhere. Video excerpts depict a solo performed by Amaya, and a bulerias finale with solos by company members, including Aviles and Amaya.
Discussion of the Argentine tango, including its history ; different types of Argentine tango (e.g., tango canyengue, salon-style tango, tango milonguero, tango fantasía) as well as the milonga, its precursor ; differences between the Argentine tango and the ballroom tango, and reasons for the former's greater appeal ; tango singer Carlos Gardel, and his status as a cult figure ; advice to prospective students of the Argentine tango, and some places to study and practice in the Boston area. Jacqueline Maidana and Anita Canzian, with their respective partners, are both seen dancing in video clips ; Canzian and her partner dance a milonga as well as the tango.
Documentary television programs
Isadora Duncan is remembered on the 70th anniversary of her death by Patricia Adams, co-artistic director of Dances by Isadora and dancer, Julie Ince Thompson. Adams and Thompson discuss Duncan's life and career, her ideas, the mixed perception accorded her work during her lifetime, and her influence on dancers today. Julie Ince Thompson also performs a one-woman dance-theater work of Isadora Duncan's entitled, To dance is to live, Isadora Duncan.
Spirit of Dance. Boston Ballet's Nutcracker
Spirit of Dance. Armenian/Middle Eastern dance
"... this DVD examines Irish and Scottish dance traditions. It covers important terminology, considers historical and political influences, and discusses the music and musical instruments that accompany both dance forms"--distributor website.
Amy Ford, a member of Tapestry Dance Ensemble, defines liturgical and sacred dance, then describes the group's origins and activities. Charity Hamilton introduces the excerpt "Lo, how a rose e'er blooming" which she produced for the video Christmas joy ; the excerpt combines dance, a Christmas carol and winter scenes. In interviews taped on location, Father Robert Ver Eecke (informally called "Father Bob"), artistic director of Boston Liturgical Dance Ensemble, and dancer Jamie Huggins talk about the company: its formation in 1980 at Boston College ; its growth over the years ; its production of A dancer's Christmas (celebrating its 16th anniversary), viewed as an alternative to The nutcracker in the Boston area ; other company activities, including its tours abroad and Father Bob's projected workshops in liturgical and sacred dance. Excerpts from A dancer's Christmas are seen in rehearsal and performance footage. The program also includes the singing of a Gaelic Christmas carol, taped in Scotland.
The Spirit of Dance. The Yard, Martha's Vineyard
The Spirit of Dance. Injury prevention for dancers
Spirit of Dance. Adrienne Hawkins jazz dance
Video
Liturgical dance
Festival International de Nouvelle Danse
The Spirit of Dance. Jazz dance, Impulse Dance Company
Spirit of dance. Ballroom dance
Irish step dancing
The Spirit of Dance. Armenian/Middle Eastern dance
Young dancers studying three different dance forms (Irish step dancing, ballet, ballroom) describe how they began dancing ; their schedules (including dance lessons and rehearsals, school and other activities) ; special points of their particular dance forms ; and their hopes for the future. All of the guests appear in performance on video.
The Spirit of Dance. Dances of South India
The guests begin by noting the different terms used for their dance form: belly, Arabic, Oriental, or Middle Eastern dancing. Cheri Berens discusses its history and development, illustrated by footage of Taheyya Karioka, an Egyptian dance star of the 1950s. Anita-Cristina Calcaterra discusses The Goddess Dancing, a company that presents performances, classes and activities focusing on women's empowerment. Konuralp Oz discusses belly dancing in his native Turkey, where it is not considered a man's art form. Lorraine Lafata discusses leading workshops that help women draw upon the transformative powers of the dance form. Each guest introduces a video excerpt of himself/herself dancing.
Documentary films
Yasuko Tokunaga, artistic director of the dance division of Boston Conservatory of Music, and Gretchen Ward Warren, professor of dance at the University of South Florida in Tampa, discuss the dance programs at their respective institutions: curricula, degree programs, students, auditions and entrance requirements, and their graduates' achievements. They also offer advice to dancers debating the choice of college or professional career. A student's point of view is provided by Libby Stackhouse. Warren and Tokunaga also describe their dance backgrounds and the paths that led to their present positions ; Warren also talks about her two books, Classical ballet technique (1989) and The art of teaching ballet (1996). Video excerpts depict students of Boston Conservatory of Music in Michel Fokine's Les sylphides, Antony Tudor's Sunflowers, and Sean Curran's Each of both ; students of the University of South Florida are seen in Shallow waters, by a student choreographer, Warren's Concerto vivant, and Janet Sturman's Snagging the wave ; Stackhouse is seen in a variation from Les patineurs.
Boston Ballet's The nutcracker behind the scenes
The Spirit of Dance. The Boston Ballet production of Sleeping beauty
The spirit of dance. Irish step dancing
The spirit of dance. Royal Academy of Dancing a conversation about dance
Ballroom dancing
Discusses different training systems and approaches to teaching ballet, showing clips from two schools, the Cape Cod Dance Center and the Walnut Hill School. Annie Hart, producer of Ballet New England, describes Ballet New England, a company formed to give these students performing experience. Emily Hantman, a recent graduate of Walnut Hill School, describes that school's combination of arts and academic studies. Donna Silva, instructor of the Boston Ballet School, recalls her performing career with the Joffrey Ballet and the First Chamber Dance Company, and the difficulties of making a transition to teaching. Concludes with advice for aspiring dancers.
Biography
Dancers Roberta Tovey and Charles Worsley discuss vintage ballroom dancing, which they define as the revival of historical dances from 1812 to the 1920s ; their coach and fellow dancer Ron Gursky extends the definition back to the Renaissance and farther into the future. They contrast vintage dancing with modern ballroom dancing, and describe their sources of information for choreography, music, and costumes. Gursky discusses the history of the tango, the current craze for the Argentine tango, and the projected events for the Boston Argentine Tango Festival. Pre-recorded video footage shows Tovey and Worsley dancing the hesitation waltz, fox trot, one step, tango, and maxixe ; and Gursky and his partner dancing the milonga and Argentine tango.
The Spirit of Dance. Middle Eastern dance
Dance critics Johnette Rodriguez and Iris Fanger discuss what their work entails: the type of articles they write, how they remember what they see in performance, balancing their responsibilities to the artists and the audience. They also discuss prominent dance companies in their respective cities of Providence, R.I., and Boston, Mass. Video clips depict Pollyana Ribeiro of the Boston Ballet in rehearsal and performance footage of The sleeping beauty, as well as in a backstage interview ; the Nicola Hawkins Dance Company performing The swim ; Jayshree Balasubramanian in a padam ; Susan Jaffe and José Manuel Carreño of American Ballet Theatre in an excerpt from the Black swan pas de deux.
Tribute to Julius Kaiser, a much respected and beloved ballroom teacher, coach and adjudicator in the Boston area. Kaiser himself traces his career from his beginnings as a folk dancer and notator in his native Hungary ; his study of ballet in Vienna ; his immigration to the U.S., where he was sponsored by the Arthur Murray Studio in Washington, D.C., and received a scholarship to Boston Conservatory of Music through the offices of the Dance Notation Bureau in New York ; his activities as a ballroom teacher and judge ; his current work with collegiate ballroom dancers. He also discusses the changes he has observed in ballroom dancing over the years, and the prospect of ballroom dancing (renamed dance sport) becoming an Olympic sport. Melissa Eisensmith and Bhak Tanta-Nanta, students at Boston University, discuss working with Kaiser as a coach. Norah Dale Allen reads written tributes to Kaiser from teacher Mary French, producer Aida Moreno, and several of Kaiser's college students, who are seen in a compilation of video clips from competitions. Also on video are Allen and her partner taking a lesson from French ; Eisensmith and Tanta-Nanta in a practice session with Kaiser ; and other students of Kaiser's at rehearsals and competitions. At the close of the program, Eisensmith describes some local events marking National Ballroom Dance Week.
The spirit of dance a conversation about dance
Laura Scott, a dancer specializing in Scottish Highland dances, discusses the different types of Scottish dancing, of which Highland dancing is one ; Highland dancing competitions ; Scottish dance technique ; costumes ; her blend of traditional and original choreography ; her dance school, Highland Soles, in Portland, Me. In video clips, she performs several Scottish dances, including a traditional sword dance and sailor's hornpipe ; a Scottish version of an Irish jig ; a Cape Breton step dancing solo ; as well as examples of her own choreography. Her husband, fiddler Ed Pearlman, appears in some of the clips.
Report on the Dance on Camera film festival held at Lincoln Center, New York, N.Y., in December 1998. Deirdre Towers, co-director of the festival, discusses the variety of films presented and some surprises of the festival ; she also comments on director Mike Figgis's Flamenco women. Eight filmmakers, representing the festival's international array, discuss their work in interviews illustrated by excerpts from their films. They are: Douglas Rosenberg, director of My grandfather dances, featuring a performance by Anna Halprin ; Pascal Magnin, director of Contrecoup ; Anthony Morgan, producer-choreographer of Punctuated equilibrium ; producer Sandra Sawatsky and choreographer Nicole Mion, creators of Belly boat hustle ; Kjersti Martinsen, choreographer of Onsdag ; Margarita Bali, director of Arena ; Jerry Kupfer, producer of Dancemaker, a documentary on the Paul Taylor Dance Company. Kupfer discusses Dancemaker's director, Matthew Diamond, the director of photography Tom Hurwitz ; the film clips include footage of Paul Taylor and his works Airs and Piazzolla caldera.
The Spirit of Dance. Prometheus Dance Company
Eight video clips introduced by Norah Dale Allen. At the beginning of the program, she discusses the background history and goals of The Spirit of Dance television series ; at the end, she describes some future programs.
Julie Ince Thompson discusses her one-woman show Tamsen Donner: a woman's journey, based on the poem of the same title by Ruth Whitman, with music by Evan Harlan. She discusses the story of Tamsen Donner, a pioneer woman who was a member of the ill-fated Donner Party ; the process of making the work ; its growth over time ; the influence of her own life experiences on her interpretation. Several performance excerpts from the piece are shown on video.
Irish and Scottish dance
The Spirit of Dance. A review and preview
The Spirit of Dance. Boston Ballet's The nutcracker behind the scenes
Four young skaters, ranging in age from 6 to 18, talk about their experiences in the world of competitive skating. They discuss how they began to skate ; their daily schedules ; falling ; nervousness in performance ; advice they would give to other young skaters ; their hopes for the future. Ice dancers Jesi Valentine and Matt Kossack describe the qualities that make for a good partnership ; the question of whether ice dancing is an art or a sport ; compulsories and how they are judged. Each skater is seen on video in practice sessions and/or performances: Morgan Rowe in her first competition, aged 5, and in short and long programs ; Kelly O'Grady working with her coach and performing at Rockefeller Center with Ice Theatre of New York ; Jesi Valentine and Matt Kossack in programs to "Great balls of fire" and "Peter Gunn," and in the Austrian waltz.
Adrienne Hawkins, artistic director of the Boston-based Impulse Dance Company, defines "concert jazz dance" and describes the company's mission, which is to take jazz dance from the commercial to the artistic sphere. With company member Amy MacNabb providing a dancer's viewpoint, she talks about the company and its activities, beginning with its founding by Consuelo Atlas, a former member of the Alvin Ailey company. Hawkins discusses her sources of inspiration, choreographic process, qualities she seeks in dancers, and ways in which she seeks to communicate with the audience. She introduces video excerpts of her works All talk, no action and Deviation is constant, both recorded at the Sixth Greater Hartford Festival of Jazz in Hartford, Conn., in July 1997.
The Spirit of Dance . Exit Dance Theatre
On the occasion of the 15th anniversary of Dance Umbrella, a presenter of dance in the Boston area, its founder and director Jeremy Alliger looks back at its origin and history. Among the activities he discusses are residency programs for artists in Boston, the commissioning of new works, the presentation of underrepresented dance forms, the educational outreach program, working with other presenters, bringing companies from abroad, and plans for an international festival of wheelchair dance. The many video excerpts include an a cappella tap solo by Gregory Hines ; Mark Morris in a solo from his work Three preludes ; the Mark Morris Dance Group in an excerpt from Morris's Gloria ; the American Indian Dance Theatre ; Elizabeth Streb's Ringside company ; an aerial dancing piece titled Night thoughts ; Bill T. Jones/Arnie Zane & Company in an excerpt from Jones's Still/Here ; the Butō dance company Sankaï Juku ; and AXIS Dance Troupe and Cando/Co in examples of wheelchair dancing. Additionally, a compilation of the highlights of Dance Umbrella's upcoming season includes briefer excerpts of Michael Moschen, Savion Glover, scenes from the musical Stomp, and a hip hop company.
The Spirit of tance a conversation about dance : Argentine tango
Dr. Clay Miller and James Reardon, both former dancers, discuss how dancers can prevent injury through knowledge of correct and incorrect positions, alignment and execution of movements. With the help of two dancers who demonstrate selected ballet exercises (including pointe work and partnering), they point out potential trouble spots and show how to avoid them. The program includes performance footage of two works performed by the Boston Dance Company: Red radiance, choreography attributed here to Ruth St. Denis ; and The golden age, choreographed by Agnes de Mille and danced by Edra Toth and others.
Spirit of dance : a discussion about choreography
Paula Josa-Jones discusses her training in theater and dance, her beginnings as a choreographer, and the formation of her company. She offers some advice on how to view dance works, and discusses her dancers' approach and contributions to her choreography. In describing her choreographic process, she discusses why she choreographs, sources of ideas, and her interest in collaborative interaction with her dancers, composers and designers. Tonya Lockyer, a member of her company, provides a dancer's point of view on developing and performing Josa-Jones's choreography. The program includes video excerpts of Josa-Jones's works Eine kleine Nachtmusik, The yellow wallpaper, and Skin, plus complete footage of her videodance work Branch, created in collaboration with composer-videographer Ellen Sebring.
Ethnic Dance Arts
Discussion of the Boston Ballet's 1996 production of The sleeping beauty, staged by Anna Marie Holmes after Marius Petipa and Konstantin Sergeev. Parts of the discussion refer to Holmes's first staging of the ballet for the company in 1993. Holmes summarizes her own experience in the role of Princess Aurora, gives a synopsis of the ballet, and describes how her staging differs from Petipa's original. Philip Jordan and Amy Persky Gross describe the company's purchase and refurbishing of the scenery, costumes and wigs designed by David Walker for the Royal Ballet's 1977 production. Video excerpts recorded on location depict the Boston Ballet's costume shop ; its wig room (with Paula Kelly as guide) ; views of dancer Caroline Llorca donning the makeup and wig for the role of Carabosse ; interviews with ballerinas Adriana Suárez and Pollyana Ribeiro, both of whom danced Aurora, and scenes of both dancers in studio rehearsals of the Rose adagio ; performance footage of Suárez in Princess Florine's variation from the Bluebird pas de deux, and Ribeiro as Aurora in the vision scene.
The Spirit of Dance. Ethnic Dance Arts
Spirit of Dance. Scottish Highland dance
Nonfiction television programs
Dance
Discussion of ballroom dancing in the Massachusetts area, including activities sponsored by the Massachusetts Amateur Ballroom Dancers Association ; local participation in National Ballroom Dance Week ; and ballroom dancing at local colleges and universities. The participants also discuss ways in which to promote ballroom dance. Video excerpts show some of these activities: an exhibition of ballroom dancing, a class at a local studio, and scenes from competitions.
The Spirit of dance a conversation between five dancers
Interviews
The spirit of dance a discussion about choreography
The spirit of dance a conversation about dance : [training a ballerina]
Report on the 1995 Moving Pictures festival, held in Toronto, Canada. Evann Siebens, a dancer turned filmmaker, discusses the affinities of dance and film, some major contributors to the history of dance films (including Fred Astaire, Busby Berkeley, and Maya Deren), her experiences at the Moving Pictures festival, and her film "do not call it fixity--," inspired by T.S. Eliot's poem Burnt Norton. In interviews recorded on location, two of the festival's organizers, Marc Glassman and Kathleen M. Smith, discuss its origins, evolution and purposes. Five filmmakers introduce clips from their films: Alison Murray ("Sleazeburger") ; Michael Downing ("Dancefront") ; Cynthia Wells ("Roses--thorns, and dreams") ; Laura Taler ("the village trilogy") ; Denis Psaltopoulos ("Sang de l'amour"). The program closes with footage of the festival's awards ceremony.
The Spirit of Dance. Royal Academy of Dancing
Donna Meierdiercks and Peter Bramante, two of the three co-founders of Groundwerx Dance Theatre, a modern dance company based in Providence, R.I., discuss the significance of the company's name and its emphasis on collaboration among its dancers and with composers and designers. Also discussed are the company's goals, which include reflecting reality in its works, and being accessible and meaningful to audiences ; its role in helping create a thriving arts complex in Providence ; its plans for the future. Company members are seen in video footage of Liberty of conscience, Dick and Jane: Place of departure, Finding room, The tenth venture (which also includes non-dancers from the community), and Twins.
The Spirit of Dance. Irish and Scottish dance
The Spirit of Dance. Boston Dance Alliance
The Spirit of Dance. Argentine tango
Spirit of Dance. Toronto Dance Film Festival
Aspects of Irish step dancing are discussed by Kieran Jordan, a dancer who is also a writer for the Boston Irish Reporter, and Barbara and Katie Connolly, a mother and daughter both involved with the art. Topics include the different tunes and their associated dances (jigs, reels, hornpipes, slip jigs) ; the use of arms ; soft and hard shoes and the different dances performed in them ; the impact of Riverdance and Lord of the dance on the popularity of Irish step dancing ; the requirements for becoming a certified teacher of Irish step dancing ; the structure of competitions, and the judges' criteria ; costumes and footwear ; the investment of time and money required for participation in competitions ; the growth of performance opportunities for Irish step dancers. Video clips show Kieran Jordan dancing a hornpipe and reel ; Dierdre Goulding performing with Riverdance and in the studio, and teaching a children's class ; Katie Connolly, Noelle Curran and others in studio performances or at competitions ; the Trinity Irish Dance Company in performance excerpts taped in Boston. Dierdre Goulding is interviewed on location, as are Trinity Irish Dance Company members Katie Wright and Darren Smith.
Discussion of a new production of The nutcracker by the Boston Ballet, as seen by some of the people who helped stage it. Philip Jordan, the company's production supervisor, traces changes in the ballet's presentation over the years. Marilyn Hyder provides a synopsis of the ballet ; Ariel Shepley, a 12-year-old dance student, discusses her experience of performing in the ballet, and is seen in video footage of auditions, costume fittings and rehearsals. Jonathan McPhee describes the special challenges of conducting for dance, and discusses the orchestra's recently issued recording of The nutcracker in live performance. Set designers Helen Pond and Herbert Senn discuss their original designs for E. Virginia Williams and the changes they made for the new production. An interview on location with set builder Paul Peabody provides further details about the set design as well as views of the scenery shop and the designers' maquettes. Jordan and Hyder compare old versions of masks and costumes with their new improved versions. Among the video excerpts screened throughout the program are brief scenes from the ballet, particularly the Chinese dance (in which Ariel Shepley appears), seen in studio rehearsal and onstage, and the snow scene that concludes Act I.
Argentine tango
Spirit of dance. Irish step
Discussion of the purpose and activities of the Royal Academy of Dancing, both in Britain, where it was founded, and the U.S. The guests discuss the R.A.D.'s various training programs and syllabi, including programs for professional and non-professional dancers, and teacher training and registration ; its examination system ; its courses in character dancing and free movement as well as ballet ; its summer program. A promotional video titled The Royal Academy of Dancing, In pursuit of excellence is shown in its entirety. Included in the video are scenes of classes, examinations and excerpts from the Adeline Genée awards performance, as well as statements by Antoinette Sibley, president of the R.A.D. ; Susan Danby, principal of the College of the Royal Academy of Dancing ; and Lynn Wallis, artistic director. In an interview taped on location, Harida May describes how her R.A.D. training has benefited her in her career as dancer, fashion model, teacher and coach ; this segment is illustrated by performance footage of the Boston Ballet in John Cranko's Eugene Onegin.
Discussion of the purpose and activities of the Royal Academy of Dancing, both in Britain, where it was founded, and the U.S. The guests discuss the R.A.D.'s various training programs and syllabi, including programs for professional and non-professional dancers, and teacher training and registration ; its examination system ; its courses in character dancing and free movement as well as ballet ; its summer program. A promotional video titled The Royal Academy of Dancing, In pursuit of excellence is shown in its entirety. Included in the video are scenes of classes, examinations and excerpts from the Adeline Geneé awards performance, as well as statements by Antoinette Sibley, president of the R.A.D. ; Susan Danby, principal of the College of the Royal Academy of Dancing ; and Lynn Wallis, artistic director. In an interview taped on location, Harida May describes how her R.A.D. training has benefited her in her career as dancer, fashion model, teacher and coach ; this segment is illustrated by performance footage of the Boston Ballet in John Cranko's Eugene Onegin.
Exit Dance Theatre
Discussion about choreography
Spirit of Dance. Boston Ballet's Sleeping beauty
Royal Academy of Dancing
Spirit of Dance
Boston Ballet production of Sleeping beauty
Discussion of Bharata Natyam, a south Indian classical dance form. Topics include its mythological creation ; its original ritual functions in the temples, and evolution into a court dance form ; its revival by the late Balasaraswati ; the symbolic meanings of elements in the sculpture of Shiva Nataraja, lord of the dance ; the four different styles within Bharata Natyam ; costumes, jewelry and makeup for the dance ; hand gestures (called hastas or mudras) and their multiple meanings ; the musical accompaniment for the dance. In video excerpts Bevin Wilson performs a jatiswaram and an alarippu ; Jayshree Balasubramanian performs a padam.
The spirit of dance, a conversation about dance Royal Academy of Dancing
The Spirit of Dance. Amaya, Flamenco Sin Limites
Bruce Marks, artistic director of the Boston Ballet, looks back on some high points of his 47 years in dance: his training at the High School of Performing Arts (where his classmates included Edward Villella and Robert Joffrey) and The Juilliard School ; his performing experience with the Metropolitan Opera Ballet, American Ballet Theatre, and the Royal Danish Ballet ; his directorships of Ballet West and the Boston Ballet. He presents a synopsis of John Cranko's ballet Eugene Onegin, currently being performed by the Boston Ballet, and discusses his proudest achievements at Boston Ballet, the company's upcoming productions, and his plans for the future, including two books he is writing. In interviews taped in the Boston Ballet's studios, two company members talk about their dance training and experience. Marjorie Grundvig, who dances the role of Olga, also discusses her interpretation of the character. Devon Carney, who dances both the title role and Prince Gremin, also discusses the dancer's need for a life outside the studio, and forethought about a future after performing. Both are seen in studio rehearsals of Eugene Onegin ; Carney is also seen in performance as Prince Gremin, partnering Larissa Ponomarenko as Tatiana.
Discussion of the long, demanding training required of a professional ballet dancer. The program opens with a video depicting students of various ages and levels in classes at the Cape Cod Dance Center. Annie Hart describes Ballet New England, a company formed to give these students performing experience. Emily Hantman, a recent graduate of Walnut Hill School, describes its combination of arts and academic studies. A video depicts scenes from the school's classes in ballet, flamenco and jazz dancing. Donna Silva recalls her performing career with the Joffrey Ballet and the First Chamber Dance Company, and the difficulties of making a transition to teaching. She concludes by offering advice to aspiring dancers.
Isadora Duncan is remembered on the 70th anniversary of her death by Patricia Adams, co-artistic director of the Boston-based company Dances by Isadora, and Julie Ince Thompson, who performs a one-woman dance-theater work titled To dance is to live, Isadora Duncan, written by Ruth Whitman. They discuss Duncan's life and career, her ideas, the mixed reception accorded her work during her lifetime, and her influence on dancers today. Thompson presents several in-studio readings from Whitman's play. Video excerpts depict Adams and her company in reconstructions of Duncan's choreography: the Scriabin Etude, Op. 2, no. 1 [sometimes titled Mother in revivals] and the suite Many faces of love (Brahms waltzes, Op. 39, nos. 2, 4, 10, 11, 14). Thompson is seen in two solos choreographed by herself: Lament and One feather, the latter to music by Patricia van Ness.
Discussion of Irish step dancing as seen from the viewpoints of a teacher, dancer and costume supplier. Maureen Haley describes the examinations a prospective teacher must undergo in order to be registered by the Irish Dancing Teachers Association of Dublin ; she also discusses the differences between Irish step dancing and ceili dancing ; steps in the training of an Irish step dancer ; competitions at different levels ; and the typical age range of dancers. Her student Erin Blake discusses her own experiences of training, exhibitions and competitions. She and other students of Haley are seen on video, performing at an Irish restaurant in Quincy, Mass. Maureen Britell describes the specialized costumes, shoes and socks worn by Irish step dancers. Displaying some costumes, she discusses their construction and decoration, changes in style and palette, and the price range for such costumes. Video footage shows three students of Maura Nevin performing in costumes made by Britell's firm.
The Spirit of Dance. Paula Josa-Jones/Performance Works
After a discussion of the need to de-mystify modern dance for general audiences, choreographers Joanne Callum, Linda Auerbach, and Nicola Hawkins introduce video excerpts of works recently presented at Cape Cod Community College (respectively titled Laying the groundwork, Say good-bye, and One black earth for planting). Jane Crosby discusses the experience of performing in Hawkins's piece. The choreographers describe the origins of their works, the ideas behind them, and other aspects of their choreographic process. They also discuss whether choreography can be taught, and the skills needed by a choreographer.
In celebration of National Ballroom Dance Week, the guests discuss their involvement in ballroom dance competitions. Topics include training and preparing for competitions ; the differences between the American and International styles ; choreography for competitions ; whether ballroom dancing should be viewed as a sport or an art form ; ballroom dancing as an Olympic sport ; advice to would-be competitors and coaches. Video excerpts narrated by Norah Dale Allen show practice sessions in Boston (including glimpses of Julius Kaiser, a highly respected ballroom dance coach and adjudicator in the Boston area) and a competition in March 1996. Also seen on video are an interview with and exhibition ballroom dances by Evelyn Lafferty and Tom Keller, who have represented the U.S. in competitions abroad.
Spirit of Dance. Mid-East/Armenian dance
Spirit of Dance. Middle Eastern/Armenian dance
College dance
Boston Ballet's The body electric
Bruce Marks, artistic director emeritus of the Boston Ballet, discusses aspects of the company's recent past, under his leadership, and the transitional period under the direction of his successor Anna-Marie Holmes. Topics include his own process of letting go ; media reaction to the death of dancer Heidi Guenther ; Citydance, an outreach program for public schools ; the need to develop audiences and present a varied repertory ; the difficulty of finding financial support ; evolving a more racially diverse company ; the new Boston Ballet building ; upcoming productions by the company. He describes the company's Body electric program (first presented on March 5, 1998), consisting of three ballets respectively choreographed by Twyla Tharp, Laszlo Berdo and Lila York, with sets and costumes by Santo Loquasto. In interviews taped on location, dancers Karla Kovatch and Rob Wallace discuss their dance training and experience, and comment on dancing in York's ballet Celts, excerpts from which are seen in dress rehearsal. Wallace is also seen in Berdo's ballet Four hands for two pianos, to music by Rachmaninoff. York, also interviewed on location, discusses the creation of Celts (which predated her first viewing of Riverdance) and her new ballet Ode to joy, to Beethoven's music.
The Spirit of Dance. Dance on Camera at Lincoln Center
The Spirit of Dance. Boston Ballet's Eugene Onegin
Spirit of Dance. Dances of Southern India
The Spirit of Dance. Liturgical dance
Retrospective of three years of programming by The Spirit of Dance, which presented its first program in April 1995. Norah Dale Allen, its host and co-producer since its inception, gives a brief background of the series and introduces the segments.
Spirit of Dance. A conversation between five dancers
Ron Cameron, production manager of the Boston Ballet, describes the process of mounting a ballet, in general and in the specific case of Ben Stevenson's Dracula, originally created for the Houston Ballet. Dracula, a particularly elaborate production, involved numerous special effects, pyrotechnics, and flying by the dancers. In interviews taped on location, dancers Reagan Messer, Yuri Yanowsky, and Pollyana Ribeiro talk about their dance training and background, and recall their personal experiences in working on Dracula. Scenes from the ballet are seen in studio and dress rehearsals. Also appearing in rehearsal and performance footage: Adrianna Suarez, Zachary Hench. Choreographer Ben Stevenson is glimpsed in rehearsal footage.
The Spirit of Dance. Vintage ballroom dancing
The spirit of dance a conversation about dance : Duncan dances
Spirit of Dance. College dance
Spirit of Dance. Festival International de Nouvelle Danse
The Spirit of Dance. Ice dancing and figure skating
The Spirit of Dance. Dance in college
The Spirit of Dance. Tamsen Donner, a woman's journey
Ballroom dance
In separate interviews Martha Carr and Malena del Mar, former members of La Meri's dance company, discuss her work on Cape Cod, where she ended her career, and talk about their desire to preserve her choreography. With this purpose they have co-founded their own dance company, named Ethnic Dance Arts after La Meri's company. Carr and Del Mar are seen in video clips of dances from Tahiti, Hawaii and India ; Del Mar is also seen in a flamenco dance. Carr, in the studio, discusses some distinguishing characteristics of ethnic dance forms (hand gestures, use of the face and eyes, storytelling function) and displays dance costumes and implements from Hawaii, Tahiti, Java and India.
Report on the Dance on Camera film festival held at Lincoln Center, New York, N.Y., in December 1997. Deirdre Towers, co-director of the festival, describes the activities of the festival's organizer, the Dance Films Association, founded by Susan Braun in 1956. She discusses different types of dance films, the selection process for the festival and some criteria used in selection. Excerpts from four of the festival's films are shown, intercut with interviews of the filmmakers or choreographers, who talk about their aims and the experience of making the films. These films are Corea, directed by Jodi Kaplan [for a complete recording, see *MGZIA 4-3290 Chorea] ; Reines d'un jour, directed by Pascal Magnin [complete recording on *MGZIA 4-2998] ; Territorial claims, choreographed by Mary Nunan and danced by Daghdha Dance Company ; and Return of the firebird, directed by Andris Liepa.
The spirit of dance. Ballroom dancing
The Spirit of Dance. Boston Ballet's The body electric
Discussion of dance performed by or for children, as seen through the eyes of Susan Friedman, a dance teacher with 15 years of experience in Cape Cod, and Jeanne Traxler, whose organization Moving Experience includes the Peanut Butter & Jelly Dance Company, adult dancers who perform in the schools, and Small Feet, a group of child performers. In describing their approaches to teaching dance to children, both emphasize the primacy of creative movement rather than formal training, and the need for age-appropriate instruction. They also discuss parents' changing expectations and concerns ; the benefits of dance for children with special needs ; and the benefits of dance recitals. Two of Friedman's students, Katie Dombromski and Sarah Reid, discuss their own experiences in dance classes. Video excerpts depict performances by the Peanut Butter & Jelly Dance Company and Small Feet (including pieces danced by parents with their children) ; performances by Katie and Sarah, with classmates, in ballet numbers presented at a recital ; and a montage of one of Friedman's recitals, showing students of different ages and levels in different dance forms.
Irish step
Dancer-choreographer Myriam Eli and musician Joe Zeytooian, co-founders of the Florida-based company Harmonic Motions, discuss their family backgrounds, training, and artistic activities. Their creative collaborations frequently involve combinations of different forms of music and dance: Middle Eastern, Armenian, flamenco, and jazz. They discuss the contrasts between Middle Eastern and Armenian dance and music, display and explain some musical instruments, discuss improvisation in dance and music, and play two duets in the television studio. In video excerpts, Eli performs three improvisational dance solos to music played by Zeytooian and others, the third solo combining flamenco and Middle Eastern dance.
The Spirit of Dance. Boston Ballet's "Dracula"
The Spirit of Dance. Training a ballerina
Discussion of Prometheus Dance Company, a modern dance theater company founded in 1986 and based at the Dance Complex in Cambridge, Mass. Artistic directors Diane Arvanites-Noya and Tommy Neblett discuss the company's aims, which include addressing social issues, and define dance theater as practiced by their company. Much of the discussion centers on Impromptus and intrigues, choreographed in collaboration by Arvanites-Noya and Neblett to the music of Franz Schubert, and seen in several video excerpts. The guests also discuss the company's past and future projects.
Wonderland (Choreographic work : Josa-Jones)
Nutcracker (Choreographic work : Marks and Wells, after Ivanov)
Boston Conservatory of Music. Dance Division.
Dance Resource Center (Cambridge, Mass.)
Festival International de Nouvelle Danse (8th : Montréal, Québec).